Charles Clément. "Catalogue de l'œuvre de Gericault—Peinture." Gazette des beaux-arts 23 (September 1, 1867), p. 275, no. 9, under the heading "Peintures (1810 à 1812)," refers to it as "Deux académies d'homme sur la même toile," 81 x 45 cm, formerly in the Charlet collection and presently in the Marcille collection [possibly this picture].
Charles Clément. "Géricault (1er article)." Gazette des beaux-arts 22 (March 1, 1867), p. 221, mentions studies after the model executed by Gericault in Guérin's studio, among them "trois ou quatre ouvrages du même genre chez MM. Marcille," possibly including this picture.
Charles Clément. Géricault: étude biographique et critique avec le catalogue raisonné de l'oeuvre du maître. 2nd ed. (1st ed. 1867). Paris, 1868, pp. 35, 279, no. 9, calls it "Académie" and describes it as "Homme debout: de ses deux mains il tient une corde sur laquelle il tire," 80 x 64 cm, in the Marcille collection (possibly this picture).
Charles Clément. Géricault, étude biographique et critique avec le catalogue raisonné de l'œuvre du maitre. 3rd ed. (1st ed. 1867). Paris, 1879, pp. 35, 279, no. 9, possibly this picture.
"Recent Accessions." Metropolitan Museum of Art Bulletin 11 (November 1952), p. 102, ill., as "A Nude Study" by Gericault; states that it was painted in Guérin's studio when Gericault was about twenty years old .
Lorenz E. A. Eitner. "Deux œuvres inconnues de Géricault au Musée d'Art Moderne." Bulletin, Musées Royaux des Beaux-Arts, Brussels 2 (June 1953), p. 56 n. 3, dates it about 1810–12; identifies it as no. 9 in Ref. Clément 1879.
Alfred Werner. "A Study of Géricault." Arts Digest 29 (April 15, 1955), ill. p. 17, as "Nude Study" by Gericault.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 20, ill., call it "Study of a Nude Man" by Gericault; discuss a similar painting of a nude model which also corresponds to Clément's [Ref. 1879] description (collection Lord Harewood, Leeds).
Introduction by Kenneth Clark in Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 308, no. 363, ill., as by Gericault.
Philippe Grunchec in Tout l'oeuvre peint de Gericault. Paris, 1978, pp. 105-6, no. 127A, ill., calls it "Homme nu tirant un corde".
Philippe Grunchec. "Géricault: Problèmes de méthodes." Revue de l'art no. 43 (1979), p. 41, states that an 1867 letter from Charles Cournault to Clément describing the Bayonne picture undoubtedly proves its attribution to Gericault; concludes that the MMA and Harewood pictures are not by Gericault [see Ref. Grunchec 1978, p. 106, under no. 127].
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 396, no. 726, ill. p. 402 (color), as "Study of a Nude Man (Academy)" by Gericault; dates it about 1811.
Germain Bazin. "L'Œuvre: Période de formation." Théodore Géricault, étude critique, documents et catalogue raisonné. 2, Paris, 1987, pp. 269–70, 276 n. 8, pp. 363–64, no. 122, ill., as "Académie d'homme debout, tirant sur une corde" by an unknown artist; of the three versions of this composition, lists only the Bayonne picture as autograph; believes the MMA and Harewood pictures to have been painted by two different students during the same studio session, seeing the same pose from slightly different angles; suggests that the Bayonne work might be a later reworking of this academic exercise; claims that the MMA picture is most likely no. 9 in Ref. Clément 1879 since Clément had not seen the Bayonne picture [see Ref. Grunchec 1979]; tentatively adds Charlet and Martial Marcille to the early provenance of the MMA work.