Ballouhey. Letter to Prud'hon. December 8, 1814 [reprinted in Charles Clément, "Prud'hon, sa vie, ses ouvrages et sa correspondance," Paris 1880, p. 402], writes on behalf of the empress Marie-Louise thanking Prud'hon for his letter and asking him to send the painting, probably this work.
Explication des ouvrages de peinture, sculpture, architecutre et gravure des artistes vivans. Exh. cat., Musée Royal des Arts. Paris, 1817, p. 71, no. 623, as "Andromaque"; describes the painting and reprints text from Racine.
E.-F.-A.-M. Miel. Essai sur les beaux-arts, et particulièrement sur le salon de 1817. Paris, 1817–18, p. 6, notes that Prud'hon's "Andromaque" was not in the 1817 exhibition.
C[harles]. P[aul]. Landon. Salon de 1824. Paris, 1824, pp. 43–44, pl. 27 (engraving by Reveil), remarks that the faces are very similar, regardless of age or sex, but admires the freshness of color and the delicate brushstrokes; comments that the two figures in the background are by another hand.
A. Jal. L'artiste et le philosophe. Paris, 1824, pp. 221–22.
[Elise Voïart]. Notice historique sur la vie et les ouvrages de P. P. Prudhon, peintre. Paris, 1824, p. 24.
M. Chauvin. Salon de mil huit cent vingt-quatre. Paris, 1825, p. 89, finds it unfortunate that two figures were finished by the then owner.
[E. F. A. M. Miel]. Revue critique des productions de peinture, sculpture, gravure, exposées au Salon de 1824. Paris, 1825, p. 121.
Le Cabinet de l'amateur et de l'antiquaire 3 (1844), pp. 517–18, no. 34.
Charles Blanc. Histoire des peintres de toutes les écoles: École française. 3, 1863, p. 23, no. 29.
Collection de M. Laperlier, tableaux & dessins de l'école française du XVIIIe siècle et de l'école moderne. Hôtel Drouot, Paris. April 11–13, 1867, p. 22, no. 38, cites the letter dated December 8, 1814 and written for the empress Marie-Louise.
Edmond de Goncourt. Catalogue raisonné de l'œuvre peint, dessine et grave de P. P. Prud'hon. Paris, 1876, pp. 116–18, no. 47, provides provenance and lists drawings and sketches.
Alfred de Lostalot. "La Collection Laurent Richard." Gazette des beaux-arts, 2nd ser., 17 (May 1878), p. 461.
Charles Clément. Prud'hon sa vie, ses œuvres et sa correspondance. 3rd ed. [1st ed. 1872]. Paris, 1880, pp. 401–3, reprints the 1814 letter.
Étienne Bricon. Prud'hon. Paris, , p. 108.
Jean Guiffrey. "L'œuvre de Pierre-Paul Prud'hon." Archives de l'art français 13 (1924), pp. 89–93, no. 249, under nos. 250–52, 254, 256–58, states that the work was begun in 1815 and alludes to the separation of the empress Marie-Louise from her son; suggests that Prud'hon abandoned the painting because her circumstances changed.
Bryson Burroughs. "The Collis P. Huntington Collection Comes to the Museum." Metropolitan Museum of Art Bulletin 20 (June 1925), p. 142, ill. p. 147.
H[arry]. B. Wehle. "Notes on Paintings in the Huntington Collection." Metropolitan Museum of Art Bulletin 20 (July 1925), p. 178.
Jean J. Seznec. "Racine et Prud'hon." Gazette des beaux-arts 26 (1944), pp. 354, 358–60, 364, fig. 13.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 201–3, ill., notes that it was probably started in early 1815, after Prud'hon had made many preparatory drawings and sketches; comments that the empress presumably commissioned it in 1814, and that the subject of Andromache and Astyanax alludes to her own unhappiness as the mother of the young King of Rome, her son by Napoleon, who was in exile on the island of Elba.
James Hugus Slayman. "The Drawings of Pierre-Paul Prud'hon, A Critical Study." PhD diss., University of Wisconsin, 1970, pp. 78–79, 198 n. 26, p. 199 n. 30, pl. 65, describes the development of the composition in the drawings.
J[ean]. L[acambre]. French Painting, 1774–1830: The Age of Revolution. Exh. cat., Galeries Nationales du Grand Palais. 1975, pp. 278, 572–73, no. 145, ill. [French ed. "de David à Delacroix, la peinture française de 1774 à 1830," Paris, 1974, pp. 565–66, pl. 183], quotes from contemporary sources and reproduces Guiffrey's list of related works.
Exhibition of French Drawings: Neo-Classicism. Exh. cat., Heim Gallery. London, 1975, unpaginated, under no. 106.
Hugh Honour. "Y eut-il une peinture 'néo-classique' en France?" Revue de l'art no. 34 (1976), p. 88.
Laurence B. Kanter. "Andromache and Astyanax by Pierre-Paul Prud'hon and Charles Boulanger de Boisfremont." Metropolitan Museum Journal 19/20 (1986), pp. 143–150, figs. 1 and 6 (x-ray photograph), traces the evolution of the composition through the preparatory studies and an x-ray, deciding that Boisfrémont's changes and additions to Prud'hon's work are more extensive than previously realized, and "have resulted in more than just paint surface of uneven quality . . . they have concealed an important stage in the artist's creative processes and compromised our appreciation of his literary and dramatic intelligence".
Pierre Rosenberg and Marion C. Stewart. French Paintings 1500–1825, The Fine Arts Museums of San Francisco. San Francisco, 1987, p. 258.
Sylvain Laveissière. "Lettres de Pierre-Paul Prud'hon et de Constance Mayer, 1808–1820." Archives de l'art français, n.s., 29 (1988), p. 31 n. 2.
Sylvain Laveissière. "Prud'hon illustrateur: deux dessins pour Dijon." Bulletin des Musées de Dijon no. 2 (1996), p. 29.
Sylvain Laveissière. "The Creative Process." Connaissance des arts special no. (1997), p. 14, colorpl. 14.
Sylvain Laveissière. Pierre-Paul Prud'hon. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 12, 29, 119, 174, 210–13, 215, 216, 218–21, 231, 236, no. 161, ill. (color, overall and detail), mentions that the 1814 letter does not refer to the painting directly, the only clue being a note on the envelope which reads "for the 'Andromache' picture"; contends it is unlikely that this work alludes deliberately to the events of 1814 because the commission probably dated to 1813, and the composition was elaborated long before, and may even have been finalized by the end of the eighteenth century; publishes additional drawings in support of this argument.
Sylvain Laveissière. "'Notre Saint Prud'hon': Une lettre inédite de Laurent Laperlier à Philippe Burty." Mélanges en hommage à Pierre Rosenberg: Peintures et dessins en France et en Italie, XVIIe–XVIIIe siècles. Paris, 2001, p. 252.
Elizabeth E. Guffey. Drawing an Elusive Line: The Art of Pierre-Paul Prud'hon. Newark, Del., 2001, pp. 88, 102, 104, 108, 215, 219, 237, 249 n. 13, p. 258 nn. 2, 6.