Exposition nationale des beaux-arts. Exh. cat., Société Nationale des Beaux-Arts. Paris, 1892, pp. 27, 96, no. 966, ill.
Camille Lemonnier. Alfred Stevens et son oeuvre, suivi des impressions sur la peinture par Alfred Stevens. Brussels, 1906, p. 32, Pl. XXXV, calls it "La visite à l'atelier" and identifies the painting on the easel as "la Salomé rousse du Musée de Bruxelles".
Lucy Oakley in Recent Acquisitions: A Selection, 1986–1987. New York, 1987, pp. 38–39, ill. (color), comments that the painting depicted on the easel corresponds closely to Stevens's finished picture "Salomé" (Musées Royaux des Beaux-Arts de Belgique, Brussels), which was completed the same year as "In the Studio"; compares the model dressed as Salomé to Regnault's famous picture of the same subject (MMA 16.95); comments on the diversity of the three women's modes of dress and of the objects depicted in the room; calls it "a complex and successful work".
John Russell. "Art: Met Favorites, Outdoors and In." New York Times (July 31, 1987), p. C28, notes that the work is evocative of date and place, displaying a female artist at a time when Berthe Morisot was one of the best painters in Paris.
19th Century European Art. Sotheby's, New York. October 29, 2002, p. 92, fig. 1, mentions it in notes for the sale of Stevens's "La boule de verre" (location unknown), which was also owned by Mrs. Charles Wrightsman and which also includes a "reflective device"; compares the convex mirror on the wall in the background of this work to that in Jan van Eyck's "Arnolfini Wedding Portrait" (National Gallery, London).
Peter Mitchell. Alfred Stevens: 1823–1906. Exh. cat., Adam Williams Fine Art, New York. London, 2004, p. 40, under no. 5, fig. 31.
19th Century European Art. Sotheby's, New York. April 20, 2005, p. 217, under no. 127.
Gary Tinterow and Asher Ethan Miller in The Wrightsman Pictures. New York, 2005, pp. 396–97, no. 112, ill. (color), note that the model on the sofa may be the same sitter in Stevens's "Ophelia" (location unknown); list two other Stevens paintings of women looking at canvases: "Interior of a Studio" (Carnegie Institute, Pittsburgh) and "Visite à l'atelier" (private collection, Indianapolis), as well as paintings of Stevens himself in his studio: "L'atelier" (Musées Royaux des Beaux-Arts de Belgique, Brussels) and "The Painter and His Model" (Walters Art Museum, Baltimore).
Christiane Lefebvre. Alfred Stevens: 1823–1906. Paris, 2006, pp. 90–91, 112, 176, fig. 89 (color).