Jean Sutter in The Neo-Impressionists. Ed. Jean Sutter. Greenwich, Conn., 1970, p. 174, calls it "Interior: My Friend Perrot Getting Up" and states that it is the "only memory" of the Neo-Impressionist painter Gustave Perrot.
Jean Bouin-Luce and Denise Bazetoux. Maximilien Luce: Catalogue raisonné de l'œuvre peint. Paris, 1986, vol. 1, pp. 71, 199; vol. 2, p. 141, no. 563, ill., call it "Portrait du Feuillagiste Perrot"; list it as probably "Le Lever, Intérieur," no. 14 in Exh. Paris 1894.
Philippe Cazeau. Maximilien Luce: Époque néo-impressionniste, 1887–1903. Exh. cat., Galerie H. Odermatt—Ph. Cazeau. Paris, 1987, unpaginated, under no. 9, reproduces the study for this painting.
Carrie Haslett in Neo-Impressionism: Artists on the Edge. Exh. cat., Portland Museum of Art. Portland, Maine, 2002, pp. 25, 83, fig. 12 (color).
Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 152, 222, no. 112, ill. (color and black and white).
Robyn Roslak. Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting, Politics and Landscape. Aldershot, England, 2007, pp. 50–51, fig. 2.5, states that Perrot was an architectural gilder; discusses this picture among several paintings of Luce's "artisan friends at home," stating that "by investing his artisans with a solemn, unsentimental and strong masculine presence..., and suggesting at the same time their aesthetic sensitivity, Luce managed to wholly affirm them at a time when commercial capitalism was diminishing the quality of their working lives and undermining their status".
Germain Talence in Maximilien Luce: Les Travaux et les Jours. Exh. cat., L'Annonciade, Musée de Saint-Tropez. Saint-Tropez, 2008, pp. 77–78, 101, ill. (color, overall and detail), comments that "la pauvreté qui suinte de la mansarde est mieux qu'un programme syndical pour rendre compréhensible la condition ouvrière".