Michael Milkovich. Luca Giordano in America: Paintings, Drawings, Prints. Exh. cat., Brooks Memorial Art Gallery. Memphis, 1964, pp. 23, 36, no. 27, ill.
Oreste Ferrari and Giuseppe Scavizzi. Luca Giordano. [Rome?], 1966, vol. 1, p.64 n. 20; vol. 2, p. 206; vol. 3, fig. 417, suggests that it can be dated about 1696, when Giordano entered into his classical period following his execution of frescoes at El Escorial; notes that the subject was taken up on a number of occasions by the artist.
Oreste Ferrari. Drawings by Luca Giordano in the British Museum 108 (June 1966), p. 302 n. 13, notes that the theme of the Flight into Egypt by Boat has "a strong symbolical import referring to Death and the Passion (the journey across the water seen as the crossing of the Styx and thus as a typical resolution of the cycle of life".
Federico Zeri with the assistance of Elizabeth E. Gardner. Unpublished manuscript for catalogue of Neapolitan paintings in The Metropolitan Museum of Art. [ca. 1970], describe it as a "minor, but very characteristic" example of Giordano's art, executed for Philip V of Spain; note that it must date to the early part of 1701, since the King was elected at the end of 1700, Giordano left Spain in 1702, and the painting is already mentioned in the collection of the Duc of Noailles in 1701; comment that the "utterly late-Baroque intuition of space is here dotted with accents whose link with Spain is obvious, especially in the physical type of the boatman".
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 86, 275, 609.
Oreste Ferrari and Giuseppe Scavizzi. Luca Giordano: l'opera completa. Naples, 1992, vol. 1, pp. 344–45, no. A601; vol. 2, pp. 784–85, fig. 760, compare it to the "Life of the Virgin" (Kunsthistorisches Museum, Vienna), "The Holy Family" (Prado, Madrid), and the "Adoration" (Perez Asencio collection, Madrid).
Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262.