David Alan Brown. Andrea Solario. Milan, 1987, p. 260 n. 40, judging from the reproduction in the 1881 sale catalogue and from a photograph, believes it is probably by Giampietrino rather than Solario.
Keith Christiansen in "Recent Acquisitions, A Selection: 1988–1989." Metropolitan Museum of Art Bulletin 47 (Fall 1989), p. 35, ill. (color), attributes it to Giampietrino and adds that so little is known of him that it is impossible to date the work; states that it derives from Leonardo's studies for his painting of Leda and the Swan (destroyed); notes the association of the subject with the French monarchy and the school of Fontainebleau and suggests that the picture was made for a French patron.
Pietro C. Marani. "Per il Giampietrino: nuove analisi nella Pinacoteca di Brera e un grande inedito." Raccolta Vinciana 23 (1989), p. 47 n. 14, having seen it during restoration, notes that it is apparently not in very good state and not certainly by Giampietrino.
Pietro C. Marani. Letter to Everett Fahy. June 5, 1990, having seen it after restoration, revises his earlier opinion [see Ref. 1989] and states that the upper part of the body, head, arms, and hands are definitely by Giampietrino, while suggesting that the rocks, stag, and flowers may have been completed later by a different hand; relates it to two drawings he attributes to Giampietrino: a figure, probably Lucretia, in the Pinacoteca Ambrosiana, Milan, and a head of Leda in the Castello Sforzesco, Milan.
Elizabeth Llewellyn. Letter to Keith Christiansen. May 8, 1990, writes that a drawing sold at Sotheby's, London, on April 30, 1990 (no. 134, "Diana with a Stag," School of Fontainebleau), with the figure of Diana almost identical to that in the MMA painting, is itself based on a print by Gian Giacomo Caraglio after Rosso Fiorentino.
Cristina Geddo. "Le pale d'altare di Giampietrino: ipotesi per un percorso stilistico." Arte lombarda, n.s., 2 (1992), pp. 69, 76, 79 n. 22, pp. 80–81 n. 61, fig. 11, attributes it to Giampietrino and calls it a late work, stating that it derives from a print by Caraglio of 1526 [see Ref. Llewellyn 1990].
Franco Moro. "Divinità femminili del Giampietrino." Achademia Leonardi Vinci 6 (1993), pp. 90–91, 93–94, fig. 1, connects it with three other panels of standing female figures: Minerva (or Athena; private collection, Basel), Juno (Castello del Buonconsiglio, Trent), and Venus and Cupid (private collection, Milan); states that the four works form a series and were made for the same patron; suggests that the theme may have been love, with Diana representing the contrast of chastity; notes Giampietrino's reliance on the engraving by Caraglio for the MMA painting.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna." Metropolitan Museum of Art Bulletin 60 (Spring 2003), pp. 19–21, fig. 14 (color), notes that Giampietrino has successfuly combined two disparate sources: Leonardo's Leda and Caraglio's print of Diana; believes it may have been made "for a French patron toward the end of Giampietrino's career"; questions Moro's [see Ref. 1993] theory that it formed a series with three other panels of standing female figures.
Furio Rinaldi. "Giampietrino: dagli esordi alla pala Fornari del 1521." Raccolta Vinciana 33 (2009), p. 261 n. 52, excludes the panel depicting Venus and Cupid (Milan, private collection) from the series of goddesses proposed by Moro [see Ref. 1993].