George Stanley. The Catalogue of a Very Splendid Collection of Paintings, by the Most Celebrated Masters of the Italian and Flemish Schools. . . . Exh. cat., Saloon of Arts. London, 1817, p. 6, no. 24, as "The Dream of Æneas" by Rosa; states that all eight works by Rosa in the exhibition were formerly in the collection of Prince Pio of Savoy [The address of the Saloon of Arts is given as 16, Old Bond Street; a separate version of the catalogue (of which the only example known is at the National Art Library, London) gives the address as Maddox Street. In the Maddox Street version, the MMA picture is listed as no. 29 on p. 7, but the text is almost identical.].
George Gillow. Select Engravings from a Collection of Pictures, by the Most Eminent Italian, Flemish, and Dutch Masters . . . London, 1818, p. 35, pl. 52 (etching by J. Vendramini).
"Art. XXII. Exhibition of a Splendid Collection of Paintings, by the Most Celebrated Masters of the Italian and Flemish Schools. . . ." Annals of the Fine Arts 3 (1819), p. 118, no. 24, reprints the text of the entry for this picture in the catalogue of the 1817 exhibition.
A Catalogue of the Pictures, Works of Art, &c. at Northwick Park. n.p., 1864, p. 9, no. 68.
Tancred Borenius. Catalogue of the Collection of Pictures at Northwick Park. London, 1921, p. 32, no. 63, mentions Rosa's etching of the composition [Bartsch 23; impression in MMA Department of Prints and Drawings].
Luigi Salerno. Salvator Rosa. Milan, 1963, pp. 54–55, 130, no. 67a, fig. 67a, dates it about 1663 in the text and about 1662 in the catalogue, observing that it must have been made after Rosa's etching of the composition; publishes a drawing by Rosa in the Louvre, Paris (no. 9741), which he sees as a study for the painting and the etching, and mentions an engraving after the painting by Giovanni Vendramini [impression in MMA Department of Drawings and Prints].
Claus Virch. "The Story of Bruegel's Harvesters: A Curator's Coup." Connoisseur 172 (November 1969), pp. 221, 223, ill., notes that after cleaning at the MMA, this picture "emerged in its moonlight hues of silvery grey and green".
Edith A. Standen in Masterpieces of Painting in The Metropolitan Museum of Art. Exh. cat., Museum of Fine Arts, Boston. New York, , p. 27, ill. (color).
Federico Zeri with the assistance of Elizabeth E. Gardner. Unpublished manuscript for catalogue of Neapolitan paintings in The Metropolitan Museum of Art. [ca. 1970], tentatively date it to the early 1660s; believe that the preparatory drawing in the Louvre was used for both the painting and Rosa's etching; note that, following Hellenistic and Roman precedent, the river god Tiber is represented as a hoary, bearded figure, while the figure of Aeneas should be compared with the sleeping warriors that flank the tomb of Christ in late fifteenth- and early sixteenth-century representations of the Resurrection.
Peter A. Tomory. Salvator Rosa: His Etchings and Engravings after His Works. Exh. cat., John and Mable Ringling Museum of Art. Sarasota, 1971, unpaginated, under no. 28, presumes that the painting followed the etching and drawing and may date later than about 1662; notes that the subject is unique to Rosa and "is a rare instance of a river god as an active participant".
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 177, 477, 609.
Michael Kitson in Helen Langdon. Salvator Rosa. Exh. cat., Hayward Gallery. London, 1973, pp. 34, 48, 64, no. 39, pl. 31, notes that it is not quite clear whether it was executed before or after the etching, which is datable about 1663–64; remarks, however, that "the deeply poetic and mysterious mood of the painting links it more closely to the romantic works of the late 1660s than to the severely classical style of the early part of the decade"; discusses seven preparatory drawings.
Luigi Salerno. "Salvator Rosa at the Hayward Gallery." Burlington Magazine 115 (December 1973), p. 828, includes it in the group of works Rosa executed after 1664, the period in which the artist "engaged in 'history' paintings far removed from 'decorative' landscape".
Giampiero Bozzolato. Le incisioni di Salvator Rosa: catalogo generale. Padua, 1973, p. 194.
Mario Rotili. Salvator Rosa incisore. Naples, 1974, pp. 108, 234, no. 108, fig. 108d, dates it a little later than the etching of about 1663 and suggests that the picture derives, not from the etching, but from the Louvre drawing.
Kenneth Woodbridge. "The Dream of Aeneas: A Rosa Source for Cheere's River God at Stourhead." Burlington Magazine 116 (December 1974), p. 756.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 82.
Luigi Salerno. L'opera completa di Salvator Rosa. Milan, 1975, p. 99, no. 183, colorpl. 57, dates it after 1662.
Helen Langdon. "Salvator Rosa: His Ideas and Development as an Artist." PhD diss., Courtauld Institute of Art, London, 1975, pp. 372–73, dates it about 1663–64.
Katharine Baetjer in 100 Paintings from the Metropolitan Museum [in Russian]. Exh. cat., State Hermitage Museum, Leningrad. Moscow, 1975, pp. 36–37, ill.
Myra Nan Rosenfeld. "Problems of Iconography in Italian Painting." Apollo 103 (May 1976), p. 387.
Felton Gibbons. Catalogue of Italian Drawings in the Art Museum, Princeton University. Princeton, 1977, vol. 1, p. 177.
Michael Mahoney. The Drawings of Salvator Rosa. Vol. 1, New York, 1977, pp. 104, 117, 123, 641–45, fig. 41, dates it to the second half of 1663; supports Salerno's conclusion [see Ref. 1963] that the Louvre drawing served as a model for both the painting and the etching; illustrates and catalogues seven extant drawings related to the picture.
Wendy Wassyng Roworth. "Pictor Succensor": A Study of Salvator Rosa as Satirist, Cynic and Painter. PhD diss., Bryn Mawr College. New York, 1978, p. 376, dates it to the mid- or late 1660s.
Richard W. Wallace. Salvator Rosa in America. Exh. cat., Wellesley College Museum. Wellesley, Mass., 1979, pp. 33, 68, 81, illustrates and discusses an early drawing for the work (Princeton) and a drawing (Pierpont Morgan Library, New York) that may be related.
Richard W. Wallace. The Etchings of Salvator Rosa. Princeton, 1979, pp. 102–3, 307, 309, ill., believes the etching was executed after the painting.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 312, fig. 560.
Laurel Bradley. "Eighteenth-Century Illustrations of Spenser's 'Faerie Queene': A Study in Taste." Marsyas 20 (1980), pp. 34, 38.
Helen Langdon. "The Etchings of Salvator Rosa." Burlington Magazine 122 (December 1980), pp. 843–44, refutes Wallace's claim [Ref. 1979] that the etching of this composition post-dates the painting, noting that the painting has much in common with Rosa's "Aethra and Theseus" (private collection) of about 1666.
Important Old Master Drawings. Christie's, London. April 12, 1983, p. 18, under no. 19, in the entry for a drawing for Rosa's etching of this subject, dates the etching 1662 and calls the MMA painting "the final and definitive stage of the design".
Christina Petrinos and Françoise Viatte. Repentirs. Exh. cat., Musée du Louvre. Paris, 1991, p. 137, under no. 48.
Jonathan Scott. Salvator Rosa: His Life and Times. New Haven, 1995, pp. 165–67, 178–79, ill. (color), wonders if the river god was inspired by Giambologna's statue of Mons Apenninus in the garden of the Medici villa, Pratolino, or Stefano della Bella's etching of the same subject.
Andreas Stolzenburg in Salvator Rosa, Genie der Zeichnung: Studien und Skizzen aus Leipzig und Haarlem. Ed. Herwig Guratzsch. Cologne, 1999, pp. 25, 262, ill., dates it after 1662; notes that the Louvre drawing and the MMA painting have a similar composition, which was later revised by Rosa for the etching.
Old Master Drawings. Exh. cat., Thomas Williams Fine Art Ltd. London, 2001, unpaginated, under no. 10, fig. 4, dates it to the early 1660s.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), pp. 43, 45, fig. 41 (color).
Wolfgang Prohaska in Salvator Rosa: tra mito e magia. Exh. cat., Museo di Capodimonte. Naples, 2008, pp. 158–59, no. 36, ill. (color).
Helen Langdon in Salvator Rosa: tra mito e magia. Exh. cat., Museo di Capodimonte. Naples, 2008, pp. 52–53, 57 n. 50.
Marco Chiarini. "Salvator Rosa." Art e dossier no. 243 (April 2008), pp. 40–42, ill. (color), dates it about 1662–65.
Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 37.
Xavier F. Salomon in Salvator Rosa. Exh. cat., Dulwich Picture Gallery. London, 2010, pp. 93, 230–32, no. 40, ill. (color), dates it about 1665; lists ten preparatory drawings, and believes that the etching followed both the drawings and the painting.
Helen Langdon in Salvator Rosa. Exh. cat., Dulwich Picture Gallery. London, 2010, p. 210.
Floriana Conte. "Precisazioni su Salvator Rosa a Milano (e una data per Francesco Cairo)." Arte lombarda 161–62 (2011), p. 103, fig. 17, sees its influence on Giovanni Ghisolfi's "San Pietro liberato dal carcere" (Santa Maria della Vittoria, Milan).
Floriana Conte. "Salvator Rosa's 'Marius Meditating Among the Ruins of Carthage' Rediscovered." Burlington Magazine 154 (March 2012), pp. 184, 186, discusses in detail the London exhibition of 1817, assuming that it was moved from Maddox Street to Old Bond Street at an unknown point [see Ref. Stanley 1817].
Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 65, 71.