August L. Mayer. Letter to George Blumenthal. May 21[?], 1914, calls it close to Titian's late work, rejecting attributions to Bassano and Tintoretto.
Erich v[on]. d[er]. Bercken and August L. Mayer. "Beiträge zur Entwicklungsgeschichte Tintorettos." Münchner Jahrbuch der bildenden Kunst 10 (1916–18), pp. 254–55, fig. 11 (detail), attribute it to Tintoretto, noting Titian's influence.
"Italian Paintings." Metropolitan Museum of Art Bulletin 15 (July 1920), p. 159, attributes it to Leandro Bassano, while noting that some authorities, including Bode, assign it to Titian.
Erich von der Bercken and August L. Mayer. Jacopo Tintoretto. Munich, 1923, vol. 1, p. 58.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XLV, tentatively attributes it to Titian, "until recently as Leandro Bassano".
François Fosca. Tintoret. Paris, 1929, p. 144, lists it as by Tintoretto.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCCCXIII.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 562, lists it as an early work by Tintoretto.
Lionello Venturi. Italian Paintings in America. Vol. 3, Sixteenth to Eighteenth Century. New York, 1933, unpaginated, pl. 559, mentions the drawing in Montpellier [see Notes]; calls it "very close in style to the portrait of Luigi Cornaro" (Palazzo Pitti, Florence).
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 483.
Erich von der Bercken. Die Gemälde des Jacopo Tintoretto. Munich, 1942, p. 118, no. 254, dates it probably about 1568–72.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 176.
Paola Rossi. "Osservazioni sui ritratti di Jacopo Tintoretto." Arte veneta 23 (1969), pp. 71–72, 82 n. 3, fig. 77, attributes it to Tintoretto and dates it about 1561, comparing it with a portrait of a man in the Statens Museum for Kunst, Copenhagen, and with "The Finding of the True Cross" (Santa Maria Mater Domini, Venice).
Pierluigi De Vecchi in L'opera completa del Tintoretto. Milan, 1970, p. 112, no. 180, ill., attributes it to Tintoretto and dates it about 1568.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 200, 526, 608.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 72–73, pl. 88, call it an early work.
Paola Rossi. Jacopo Tintoretto. Vol. 1, I ritratti. Venice, [1974?], pp. 50–51, 62, 102, 106, 117, fig. 111, dates it 1561–62.
John Shearman. The Early Italian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1983, p. 242, believes that "Head of a Man" at Hampton Court (no. 257) is a study from life for the MMA painting.
Paola Rossi in Jacopo Tintoretto: ritratti. Exh. cat., Gallerie dell' Accademia, Venice. Milan, 1994, pp. 26, 128–29, no. 25, ill. [German ed., "Jacopo Tintoretto: Portraits"].
Sylvia Ferino-Pagden. "Zur Ausstellung in Wien: Tintoretto und der 'Weissbärtige Mann' im 'Bordone-Saal'." Jacopo Tintoretto: Portraits. Exh. cat., Kunsthistorisches Museum, Vienna. Milan, 1994, p. XI, ill. p. IX (detail).
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), p. 35, ill. (color), notes that although it is often referred to as an early work, it may in fact date from later in the artist's career; relates it to the portraits of Alvise Cornaro (Palazzo Pitti, Florence) of about 1560 and Giovanni Paolo Cornaro (Museum voor Schone Kunsten, Ghent) of 1561.