Laurent Pécheux. L'autobiografia di Lorenzo Pecheux sino al 1804 (1729–1804); Le opere pittoriche di Lorenzo Pecheux dal 1753 al 1804. [by 1804] [R. Accademia delle Scienze, Turin, Miscell. manuscripts, E, V, 12, fasc. Pecheux; published in Ref. Bollea 1942, pp. 372–75, 394], notes that the duke of Parma could not find a painter and that his minister lobbied for Pécheux; observes that he "worked assiduously on the portrait" for forty days and sent it to Madrid in May where it was received with satisfaction by the King, "who immediately requested that I undertake a portrait of him".
Ramón de Morenes. "Retrato de Doña María Luisa de Parma, Reina de España." Boletín de la Sociedad Española de Excursiones 5 (September 1, 1897), pp. 137–38, ill. opp. p. 137, observes that it was given by Maria Luisa to her governess, Maria Catalina de Bassecourt y Griñy, Marquesa de Griñy, de González y del Borghetto, in 1789; remarks that it retains its original frame.
Antonio Rafael Mengs, 1728–1779. Exh. cat., Museo del Prado. Madrid, 1929, p. 22, under no. 35, idenitifies a drawing lent by Maria del Pilar Carderera (no. 35, fig. 18) as a sketch for the portrait.
L. C. Bollea. Lorenzo Pecheux, maestro di pittura nella R. Accademia delle Belle Arti di Torino. Turin, 1942, pp. 41–43, 372–75, 394, no. 24, publishes Pécheux's "autobiography" and a letter from the prime minister of Parma, Guillaume du Tillot; adds that Mengs approved the choice of Pécheux, but questioned his ability as a portraitist; as a result the Bailly de Breteuil asked the artist to paint portraits of himself and a mutual friend, and had them mailed to Tillot, reassuring him as well as the duke of the painter's skill in the genre.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 728, no. 2038, ill.
Anthony M. Clark. Letter to James Rorimer. September 27, 1960, as a very important work by the leading neo-classical painter Pécheux listed in the artist's autobiography.
Dieter Honisch. Anton Raphael Mengs und die Bildform des Frühklassizismus. Recklinghausen, 1965, pp. 71, 106, no. 14.
James Parker. "French Eighteenth-Century Furniture Depicted on Canvas." Metropolitan Museum of Art Bulletin 24 (January 1966), pp. 182–86, 192, ill. p. 184 and fig. 2, speculates that the clock came from the workshop of a French clockmaker resident in Parma, Nicolas la Fontaine; believes the positive reception of this picture occasioned a request for a portrait from the duke of Parma, not the king of Spain, as Pécheux states; notes that Goya painted a portrait of Maria Luisa in very much the same pose.
[Alessandro Baudi di Vesme]. Schede Vesme: l'arte in Piemonte dal XVI al XVIII secolo. 3, Turin, 1968, p. 796, no. 24.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 159, 515, 606.
Thomas Pelzel Princeton University. Anton Raphael Mengs and Neoclassicism. New York, 1979, p. 320 n. 288.
Sandra Pinto in Curiosità di una reggia: vicende della guardaroba di Palazzo Pitti. Exh. cat., Palazzo Pitti. Florence, 1979, pp. 121–22, under no. 40, discusses it in relation to the example in the Palazzo Pitti, noting that it is the version on which Mengs based his portrait of her following her marriage (Prado, Madrid); observes that a portrait of Maria Luisa by Pécheux was listed in the posthumous inventory of Mengs.
T. H. Clarke. Letter to Claire Le Corbeiller. [ca. June 1980], identifies the clock with an elephant clock in the Uffizi, made by "Beeckaert, master in 1746"; notes that the Pécheux replica in the Pitti, which is in reverse, has a rhinoceros clock on the console.
T. H. Clarke. The Rhinoceros from Dürer to Stubbs, 1515–1799. London, 1986, pp. 132, 204, believes both clocks were acquired by Maria Luisa's mother.
Bel ameublement et tissus anciens. Sotheby's, Monte Carlo. June 21–22, 1987, unpaginated, ill., under no. 1100.
Almudena Barbero. "Portraits de cour en Espagne à l'époque de Goya." De soie et de poudre: portraits de cour dans l'Europe des Lumières. Arles, 2003, pp. 29–30, fig. 3, notes that the canvas was rolled for transport to Spain.
Pilar Benito García and Jesús Urrea. "El retrato 'de pedida' de la princesa María Luisa de Parma." Antologia di Belle Arti no. 63/66 (2003), pp. 63–64, identify a three-quarter length portrait in the Palacio de El Pardo, Madrid, as Maria Luisa; attribute it to Giuseppe Baldrighi and date it 1765, noting its connection with the MMA portrait.
Elizabeth E. Barker in The Wrightsman Pictures. New York, 2005, p. 233 n. 11.
Almudena Ros de Barbero. "Laurent Pécheux: Pintor Francés, retratista de María Luisa de Parma, Princesa de Asturias." El arte foráneo en España: Presencia e influencia. Madrid, 2005, pp. 407–11, 416, fig.1, states that the picture was received in Madrid before April 28, 1765, and was restored by Mengs; believes the areas were the upper left corner and the lower edge, as noted in a 1931 conservation report; suggests that a portrait of Charles IV as Prince of Asturias (formerly identified as the Infante Don Gabriel de Borbón), in Parma, was sent in exchange by the Spanish court; notes a bust length variant made for the queen of Hungary; suggests that before the princess had arrived in Madrid, Mengs used the MMA portrait to realize his sketch for her head (now in the Prado).
Pilar Benito García. "Aproximación al guardarropa de María Luisa de Parma." Reales sitios 45, no. 175 (2008), p. 50, ill. p. 49 (color), notes that her costume follows French fashion and appears to be made from less expensive fabric.
Mercedes Cerón. "Goya's Lost Snuffbox." Burlington Magazine 152 (October 2010), p. 675, ill. on title page, figs. 25, 26 (color, overall and details).
Daniëlle O. Kisluk-Grosheide in The Wrightsman Galleries for French Decorative Arts: The Metropolitan Museum of Art. New York, 2010, p. 180, no. 89, fig. 33 (color, gallery installation), ill. p. 181 (color).
Francesco Petrucci. Pittura di Ritratto a Roma: il Settecento. Rome, 2010, vol. 1, pp. 83, 324; vol. 3, pl. 1140.