Pierre Puvis de Chavannes. Letter to Durand-Ruel. November 9, 1887 [published in Lionello Venturi, "Les Archives de l'impressionnisme," vol. 2, Paris, 1939, p. 95], consigns this picture to Durand-Ruel as "Tamaris (petite toile)" with an asking price of Fr 1,000.
André Michel. "Exposition de M. Puvis de Chavannes." Gazette des beaux-arts, 2nd ser., 37 (January 1888), p. 43.
Marius Vachon. Puvis de Chavannes. Paris, 1895, ill. p. 3, as "Tamaris," in the collection of M. R. de Bonnières.
Léon Werth. "Puvis de Chavannes." Portraits d'Hier 1 (April 1909), p. 48 n. 1.
Léon Riotor. Puvis de Chavannes. Paris, , p. 66, mistakenly locates it still in the Robert de Bonnières collection.
Léonce Bénédite. Notre art, nos maîtres. Paris, [ca. 1922], p. 62.
Léon Werth. Puvis de Chavannes. Paris, 1926, p. 125, pl. 12.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 167, as "Nude—Ariadne".
Bernard Dorival. La peinture française. Paris, 1942, vol. 2, p. 105.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, pp. 228–29, ill., call it "Tamaris," noting that this was the title of the picture during Puvis's lifetime; comment that the pink blossoms suggest the figure is the personification of the tamarisk, a shrub or small tree named from the valley of Tamaris in the Var; date it about 1880.
Marie-Thérèse de Forges. "Un nouveau tableau de Puvis de Chavannes au Musée du Louvre." Revue du Louvre et des musées de France 20, nos. 4–5 (1970), p. 244, compares it to one of the figures in Puvis' "Young Women by the Sea" (1879; Musée d'Orsay, Paris).
Wayne Andersen. "Gauguin's Calvary of the Maiden." Art Quarterly 34, no. 1 (1971), p. 95, fig. 15, refers to the pose as a "nineteenth-century cliché".
Mary Anne Stevens and Alan Bowness in French Symbolist Painters: Moreau, Puvis de Chavannes, Redon and their Followers. Exh. cat., Hayward Gallery. London, 1972, p. 109, no. 219, ill.
Martin L.H. Reymert et al. in Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800–1870. Exh. cat., Shepherd Gallery. New York, 1975, pp. 269–70, no. 113, ill., compares the figure's pose to Ingres' "Turkish Bath" (1862; Musée du Louvre, Paris).
Richard J. Wattenmaker. Puvis de Chavannes and the Modern Tradition. Exh. cat., Art Gallery of Ontario. Toronto, 1975, p. 70, no. 22, ill., observes that this type of composition would have interested Seurat.
Louise d'Argencourt in Puvis de Chavannes, 1824–1898. Exh. cat., Grand Palais, Paris. Ottawa, 1977, pp. 154, 199, no. 178, ill. p. 201 [French ed., Paris, 1976, pp. 156, 201, no. 178, ill. p. 203], dates it about 1885–86; observes that its general outlines are borrowed from the statue "Ariadne" in the Vatican and states that the figure derives directly from Puvis's personification of the river Saône in the stairway mural of 1866 in the Musée des Beaux-Arts, Lyons (Price no. 313); believes that the figure represents a water nymph in connection with the village of Tamaris on the Mediterranean; discusses the influence of Corot.
Albert Boime. Thomas Couture and the Eclectic Vision. New Haven, 1980, p. 612, calls it "Ariadne" and compares it to a figure sketch by Thomas Couture (Brooklyn Museum of Art).
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 235, 286.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 370, no. A437, ill.
From Puvis de Chavannes to Matisse and Picasso: Toward Modern Art. Exh. cat., Palazzo Grassi, Venice. [Milan], 2002, p. 540, no. 15, ill. pp. 308–9 (color) and p. 541, dates it 1885–86.
Aimée Brown Price. "The Artist and His Art." Pierre Puvis de Chavannes. 1, New Haven, 2010, pp. 112, 135, 165.
Aimée Brown Price. "A Catalogue Raisonné of the Painted Work." Pierre Puvis de Chavannes. 2, New Haven, 2010, pp. 295–96, no. 319, ill. (color), calls it "Tamaris" or "Ariadne" and dates it about 1886–87; summarizes the different interpretations of the figure's identity, finding the relationship to Puvis's personification of the river Saône (about 1885–86; Musée de Beaux-Arts, Lyons; Price no. 313) and to the Vatican sculpture "Ariadne" most convincing [see Ref. d'Argencourt 1977].