Auguste Renoir. Letter to Théodore Duret. October 15, 1878 [published in Ref. White 1984, p. 87], states that it is finished, but that he does not know what to think of it.
Auguste Renoir. Letters to Madame Charpentier. n.d. and November 30,  [published in Ref. Florisoone 1938, p. 35], in two separate letters, requests permission for Mme Manet [Berthe Morisot] and then for Charles Ephrussi and [Charles] Deudon to see it.
Philippe Burty. "Le Salon de 1879—III: Les portraits." La République française (May 27, 1879), p. 3 [see Ref. White 1984], praises the accuracy of the poses and likens the flesh tones to the velvetiness of a huge pastel.
Bertall. "Souvenirs du Salon de 1879." L'Artiste 2 (July 1879), pp. 86–87, remarks upon the charm of the subjects but criticizes the picture's sketchiness and lack of finish.
Charles Bigot. "Salon de 1879: II. La peinture." La Revue politique et littéraire 8 (June 7, 1879), pp. 1155–56, finds freshness, youth, and movement in it, criticizing it only for having too much yellow and violet.
Ernest Chesneau. "Le Salon de 1879." Le Moniteur universel 160 (June 13, 1879), pp. 810–11 [reprinted in Victor Champier, "L'Année artistique," vol. 2, 1879, p. 108].
J.-K. Huysmans. "Le Salon de 1879." Le Voltaire (June 10, 1879) [reprinted in Huysmans, "L'Art moderne," Paris, 1883, pp. 58–59], remarks that it is the work of an artist who, though included in the official Salon, is an independent.
F[rédéric].-C. de Syène. "Salon de 1879. II." L'Artiste 2 (July 1879), p. 11.
Ed[mond]. Renoir. "Cinquième exposition de La Vie Moderne—P. A. Renoir." La Vie moderne (June 19, 1879), p. 175 [reprinted in Ref. Venturi 1939, vol. 2, p. 336 and as "Pierre-Auguste Renoir: Mon frère," Essoyes, 2005], in a letter to Émile Bergerat, relates that no furniture was rearranged in the Charpentier home in preparation for it.
Pierre Dax. "Chronique." L'Artiste 1 (March 1879), p. 286.
Arthur Baignères. "Le Salon de 1879 (Deuxième article)." Gazette des beaux-arts, 2nd ser., 20 (July 1879), p. 54.
Théodore de Banville. "Salon de 1879, III." Le National (May 16, 1879), pp. 1–2 [see Refs. Lethève 1959 and Bailey 1997].
Armand Silvestre. "Le Monde des arts: Demi-dieux et simples mortels au Salon de 1879." La Vie moderne (May 29, 1879), p. 118.
[Jules] Castagnary. "Salon de 1879. 7e article." Le Siècle (July 2, 1879), p. 2, praises its spontaneity and lack of convention.
Auguste Renoir. Letters to Octave Maus. January 3, 4, [5–10], 1886 [published in Ref. Venturi 1939, vol. 2, pp. 227–29].
Auguste Renoir. Letter to Madame Charpentier. [Spring 1886] [published in Ref. Florisoone 1938, p. 38], states that its inclusion was the only reason for his acceptance into the Galerie Petit exhibition [Exh. Paris 1886].
Julien Leclercq. "Petites expositions: Expositions A. Renoir." Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 5 (February 3, 1900), p. 39, describes it as a Japanese interior, erroneously referring to both children as Mme Charpentier's daughters.
Auguste Renoir. Letter to Durand-Ruel. January 4, 1900 [published in Ref. Venturi 1939, vol. 1, pp. 156–57], suggests that Durand-Ruel might borrow it for a possible exhibition.
Charles Angrand. Letter to Paul Signac. March 1900 [published in François Lespinasse, ed., "Charles Angrand: Correspondances 1883–1926," Rouen, 1988, p. 120], mentions seeing this picture at Bernheim-Jeune's Renoir exhibition [Exh. Paris 1900].
C. L. de Moncade. "Le Peintre Renoir et le Salon d'Automne." La Liberté 10 (October 15, 1904), unpaginated [translated and published in Barbara Ehrlich White, ed., "Impressionism in Perspective," Englewood Cliffs, 1978, p. 22]
, interviews Renoir, who recalls that Mme Charpentier used her influence with the members of the 1879 Salon jury to ensure its favorable placement.
Théodore Duret. Histoire des peintres impressionistes. Paris, 1906, pp. 140–42, 144, ill. p. 137 [translated and reprinted in Ref. Duret 1912], states that M. Charpentier commissioned it after Renoir had completed a portrait bust of his wife (Musée d'Orsay, Paris); credits Mme Charpentier for its inclusion in the Salon.
R[oger]. E. F[ry]. "The Charpentier Family by Renoir." Metropolitan Museum of Art Bulletin 2 (June 1907), pp. 102–4, ill., calls it "by common consent one of the finest, if not the finest work" by Renoir, noting its expression of "the animalism of childhood".
Léonce Bénédite. "Madame Charpentier and Her Children, by Auguste Renoir." Burlington Magazine 12 (December 1907), pp. 130–32, 135, ill. p. 128.
Roger Fry. Letter to R. C. Trevelyan. April 12, 1907 [published in Ref. Sutton 1972, vol. 1, p. 284, no. 221], states that he has just returned from purchasing it in Paris.
Paul Durand-Ruel. Letters to Roger Fry. April 5 and 11, 1907 [see Ref. Distel 1985, p. 29 n. 77], suggests that Fry purchase it at the Charpentier sale; informs Fry that the bid was successful.
Georges Durand-Ruel. Letter to Renoir. May 3, 1907 [published in Caroline Durand-Ruel Godfroy, ed., "Correspondance de Renoir et Durand-Ruel, 1907–1919," Lausanne, 1995, p. 13], reports that it was sold.
Frank Fowler. "The Field of Art: Modern Foreign Paintings at the Metropolitan Museum, Some Examples of the French School." Scribner's Magazine 44 (September 1908), p. 384.
James Huneker. Promenades of an Impressionist. New York, 1910, pp. 242–44, 249, states that Durand-Ruel purchased it on behalf of the MMA; erroneously calls the dog a Saint Bernard and both children girls.
Emil Waldmann. "Französische Bilder in amerikanischem Privatbesitz II." Kunst und Künstler 9 (December 1910), pp. 145–46, ill.
Julius Meier-Graefe. Auguste Renoir. Munich, 1911, pp. 58, 66–70, ill. [French ed., 1912, pp. 54, 62–64, ill.].
Théodore Duret. Manet and the French Impressionists. 2nd ed. [1st ed. 1910]. London, 1912, pp. 177–78, ill. between pp. 176–77.
Harry Graf Kessler. "Deutschland und die Auslandskunst." Deutsche und französische Kunst: Eine Auseinandersetzung deutscher Künstler, Galerieleiter, Sammler und Schriftsteller. 2nd. ed. Munich, , p. 122.
Charles Louis Borgmeyer. The Master Impressionists. Chicago, 1913, pp. 124–26, 148, 229, ill. p. 99.
B[ryson]. B[urroughs]. "Nineteenth-Century French Painting." Metropolitan Museum of Art Bulletin 13 (August 1918), pp. 179–80, ill.
Ambroise Vollard. La Vie & l'œuvre de Pierre-Auguste Renoir. Paris, 1919, pp. 100–101 [reprinted in Vollard, "Le Salon de Mme Charpentier," L'Art et les artistes 1 (January 1920), pp. 168–69, ill. p. 163; English ed., 1925, pp. 96–97], interviews Renoir, who recalls Mme Charpentier's role in admitting it to the Salon, and states that he was paid about Fr 1,000 for it, an exceptional price for the time [see Refs. Duret 1924 and Bailey 1997].
"Renoir." Bulletin de la vie artistique 1 (December 15, 1919), p. 36, ill. p. 33, states that Renoir was paid Fr 500 for this picture [see Ref. Bailey 1997].
Paul Jamot. "The Acquisitions of the Louvre During the War—IV." Burlington Magazine 37 (November 1920), p. 220, refers to the portrait of Mme Charpentier in Paris as a study for it.
Félix Fénéon. "Souvenirs sur Manet." Bulletin de la vie artistique 1 (October 15, 1920), p. 610, interviews Henri Gervex, who recalls that Cabanel rehung it in a more favorable position at the Salon.
Georges Rivière. Renoir et ses amis. Paris, 1921, pp. 77, 177, ill. p. 180.
Paul Jamot. "Renoir (1841–1919) (premier article)." Gazette des beaux-arts, 5th ser., 8 (November 1923), pp. 274–77, ill.
Paul Jamot. "Renoir (1841–1919) (deuxième et dernier article)." Gazette des beaux-arts, 5th ser., 8 (December 1923), p. 336.
Théodore Duret. Renoir. Paris, 1924, pp. 54–55, 57–58, 65–66, fig. 14 [English ed., pp. 41, 43–44, 49, fig. 5 ].
Madeleine Octave Maus. Trente années de lutte pour l'art: 1884–1914. Brussels, 1926, p. 43 n. 1, pp. 312, 325.
Julius Meier-Graefe. Renoir. Leipzig, 1929, pp. 104–7, 217, ill.
George Besson. Auguste Renoir. Paris, 1929, pp. 7, 9, pl. 6.
Roger Fry. Characteristics of French Art. London, 1932, pp. 142–43, pl. XXXVII.
Albert C. Barnes and Violette De Mazia. The Art of Renoir. New York, 1935, pp. 398–99, 412, 449, no. 79.
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, pl. 14.
Josephine L. Allen. "Paintings by Renoir." Metropolitan Museum of Art Bulletin 32 (May 1937), p. 110.
Michel Florisoone. Renoir. Paris, 1937, pp. 24, 166, ill. p. 85 [English ed., 1938].
Claude Roger-Marx. Renoir. Paris, 1937, pp. 45–46, ill. p. 65.
Harry B. Wehle. Renoir: A Special Exhibition of His Paintings. Exh. cat., The Metropolitan Museum of Art. New York, 1937, pp. 6–7, no. 22, ill.
Henry McBride. "The Renoirs in America." Art News 35 (May 1, 1937), pp. 59, 158, ill. p. 68.
Michel Florisoone. "Renoir et la famille Charpentier." L'Amour de l'art 19 (February 1938), pp. 31, 35–38, ill.
Lionello Venturi. Les Archives de l'impressionnisme. Paris, 1939, vol. 1, pp. 42–43, 47, 157; vol. 2, pp. 227–29, 336.
R. H. Wilenski. Modern French Painters. New York, , pp. 42–43, 62, 248.
Charles Terrasse. Cinquante portraits de Renoir. Paris, 1941, unpaginated, pl. 13.
Michel Drucker. Renoir. Paris, 1944, pp. 48, 50–51, 131, 185, 196, 219, pl. 49, identifies the children as Georgette and Paul Charpentier; states that Renoir received Fr 1,000 for it; mentions three other portraits of Mme Charpentier by Renoir.
John Rewald. "Auguste Renoir and His Brother." Gazette des beaux-arts, 6th ser., 27 (March 1945), p. 186, fig. 5 [reprinted in Rewald, "Studies in Impressionism," New York, 1985, p. 18, fig. 4], calls it "Mme Charpentier and Her Daughters" in the caption and "Portrait of Madame Charpentier" in the text.
John Rewald. The History of Impressionism. New York, 1946, pp. 338–40, 428, ill.
Lucie and André Chamson. Renoir. Lausanne, 1949, pp. 18, 21, pl. 22.
Lionello Venturi. Impressionists and Symbolists. Vol. 2, New York, 1950, pp. 105–6, fig. 104.
Walter Pach. Pierre-Auguste Renoir. New York, 1950, pp. 18, 66–67, ill. (color).
The Metropolitan Museum of Art Miniatures, French Impressionists: Manet, Monet, Pissarro, Renoir, and Boudin. Vol. 27, Album 51, New York, 1951, unpaginated, ill. (color).
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 233, no. 148, colorpl. 148.
Harry B. Wehle. The Metropolitan Museum of Art Miniatures: Figure Paintings by Renoir. Vol. 34, Album LF, New York, 1952, unpaginated, ill. (color).
Misia Sert. Misia and the Muses: The Memoirs of Misia Sert. New York, 1953, p. 85.
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 7, ill. p. 51.
Michel Robida. Ces Bourgeois de Paris: Trois siècles de chronique familiale de 1675 à nos jours. Paris, 1955, pp. 118, 131–32, 135, ill. opp. p. 144, notes its original location at the entrance of the "galerie" on the first floor of the Charpentier home at 11, rue de Grenelle; describes Mme Charpentier in this picture as seated in her "Japanese salon" and wearing a dress designed by Worth.
A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 86.
Michel Robida. Le Salon Charpentier et les impressionnistes. Paris, 1958, pp. 55–59, 81–82, 135, fig. XIII (detail) and ill. on front cover (color detail).
Alfred Frankfurter. "Midas on Parnassus." Art News Annual 28 (1959), p. 35, ill.
Hermann Bünemann. Renoir. Ettal, 1959, pp. 151–52, 210, 212, ill. pp. 64, 152 (color, overall and detail).
Jacques Lethève. Impressionnistes et symbolistes devant la presse. Paris, 1959, pp. 102, 106.
Michel Robida. Renoir enfants. Lausanne, 1959, pp. 9–10, 14, 30, ill. (color, detail) [English ed., 1962].
John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, pp. 419–20, 424, 430, 580, 603, ill.
Barbara Ehrlich White. "An Analysis of Renoir's Development from 1877 to 1887." PhD diss., Columbia University, 1965, pp. 48, 50–52, 94–95, 98–99, 101, 106, 176, 188, fig. 14.
Félix Fénéon. Au-delà de l'impressionnisme. Paris, 1966, p. 69.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 149–52, ill.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill. (color).
Introduction by Kenneth Clark in Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 317, no. 380, ill.
François Duret-Robert Preface by René Huyghe in L'Impressionnisme. [Paris], 1971, p. 306 [English ed., 1973].
François Daulte. Auguste Renoir: Catalogue raisonné de l'œuvre peint. Vol. 1, Figures. Lausanne, 1971, pp. 42–43, 411, no. 266, ill. (color, overall and detail), notes that it was commissioned by Georges Charpentier in September 1878 and completed by the beginning of December of that year, following over forty sittings [see Ref. Renoir 1878]; provides the children's ages as three and six years old.
Impressionist and Modern Drawings, Paintings and Sculpture. Christie's, London. July 6, 1971, pp. 32–35, under nos. 30–33.
Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, pp. 26, 34, 97, 284, fig. 39.
Elda Fezzi. L'opera completa di Renoir. [reprint ed., 1981]. Milan, 1972, p. 103, no. 321, colorpls. XLIV–XLV, fig. 321.
Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, pp. 16–17, ill.
René Huyghe Lydie Huyghe in La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, p. 462, fig. 149.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 190–94, no. 38, ill. (color, overall and detail) [French ed., "Centenaire de l'Impressionnisme," Paris, 1974], notes that the faces and hands of the sitters are more finished than the rest of the painting; sees in it Renoir's break away from Impressionism and reintroduction of "traditional pictorial values in order to satisfy the needs of a commissioned work and, more importantly, the Salon jury".
Alice Bellony-Rewald. The Lost World of the Impressionists. London, 1976, pp. 67, 69, 113, ill. (color), dates it 1877 in the text and 1878 in the caption; notes that Berthe Morisot, [Charles] Ephrussi, and the collector [Charles] Deudon all saw this painting in the Charpentier home before it was sent to the Salon [see Ref. Renoir 1878].
Frank Whitford. Japanese Prints and Western Painters. New York, 1977, p. 168.
Gabriel P. Weisberg. "Madame Henry Lerolle and Daughter Yvonne." Bulletin of the Cleveland Museum of Art 64 (December 1977), p. 336, fig. 19, suggests that it may have influenced Albert Besnard's "Madame Henry Lerolle and Daughter Yvonne" of about 1879–80 (Cleveland Museum of Art), noting a similar emphasis on informality.
Anthea Callen. Renoir. London, 1978, pp. 14, 17, 67, pl. 48.
Frances Spalding. Roger Fry: Art and Life. Berkeley, 1980, pp. 100–101, pl. 34.
William Gaunt. Renoir. 3rd rev. ed. (1st ed., 1952). Oxford, 1982, pp. 16–17, under no. 31, fig. 27.
Barbara Ehrlich White. Renoir: His Life, Art, and Letters. New York, 1984, pp. 84, 87–89, 121, 162–163, 165, 192, 210, 237, ill. (color), notes that there were forty sittings for it between September through mid-October 1878; suggests the influence of Ingres's portrait of Mme Philibert Rivière of about 1805 (Musée du Louvre, Paris); comments that Renoir made the figures more solid and tangible in response to criticism of his painting, but that he retained Impressionist methods of arrangement, color, and spontaneity.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. Ed. Edward Chaney and Neil Ritchie. London, 1984, p. 234.
Anne Distel in Renoir. Exh. cat., Hayward Gallery. [London], 1985, pp. 20, 25, 29 n. 77, pp. 197, 212, under no. 40, pp. 214–15, 298–99, 310, no. 44, ill. pp. 84–85 (color, overall and detail), 214 [French ed., pp. 31, 40–41 n. 77, 101, 148, 156–59, 376–77, 394, ill. (color, overall and detail)].
John House in Renoir. Exh. cat., Hayward Gallery. [London], 1985, pp. 221, 244, under no. 74 [French ed., pp. 177, 238].
Denis Rouart. Renoir. revised ed. (1st ed., 1954). New York, 1985, pp. 46–47, 150, ill. (color).
Eunice Lipton. Looking into Degas: Uneasy Images of Women and Modern Life. Berkeley, 1986, pp. 54, 211 n. 6, fig. 31.
Melissa McQuillan. Impressionist Portraits. London, 1986, pp. 26, 136–37, ill. (overall and detail, color and black and white).
Impressionist and Modern Paintings and Sculpture, Part I. Sotheby's, London. November 28, 1989, p. 24, under no. 9.
Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 8, 38, 141, 144, 147, 162, colorpl. 126.
Milton Esterow. "Masterpiece Theater." Art News 89 (Summer 1990), pp. 135–36, ill.
Margaret Fitzgerald Farr. "Impressionist Portraiture: A Study in Context and Meaning." PhD diss., University of North Carolina at Chapel Hill, 1992, pp. 156, 185 n. 49, p. 190 n. 62, pp. 193–96, pl. 26.
John House. Renoir, Master Impressionist. Exh. cat., Queensland Art Gallery, Brisbane. Sydney, 1994, pp. 33–34, fig. 10 (color).
Marie Simon. Fashion in Art: The Second Empire and Impressionism. London, 1995, pp. 142, 147, ill. pp. 144–45 (color).
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, pp. 89, 92.
Götz Adriani. Renoir. Exh. cat., Kunsthalle Tübingen. Cologne, 1996, pp. 38–39, 52, 224, ill.
Colin B. Bailey in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, pp. 4, 6, 8–9, 14–17, 48 n. 158, pp. 158, 160–67, 189, 202, 296–300, 312 n. 64, p. 319 n. 11, no. 32, ill. (color, overall and details) and on back cover, dates it mid-September to mid-October 1878; considers Duret [see Ref. 1937] a more reliable source for the amount Renoir was paid, noting that it was below the market price; notes that Renoir supervised its varnishing and unvarnishing and possibly chose its frame; remarks that there are no known preparatory sketches; identifies three sections of a Japanese screen, possibly of the Rimpa school, in the background, and states that the setting is Mme Charpentier's bedroom.
Linda Nochlin in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, p. 69.
Anne Distel in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, p. 78.
Rebecca A. Rabinow. "Catharine Lorillard Wolfe: The First Woman Benefactor of the Metropolitan Museum." Apollo 147 (March 1998), p. 54.
John House in Sona Johnston. Faces of Impressionism: Portraits from American Collections. Exh. cat., Baltimore Museum of Art. New York, 1999, p. 12, fig. 2 (color).
Rebecca A. Rabinow. "Modern Art Comes to the Metropolitan: The 1921 Exhibition of 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), pp. 4, 9 n. 13.
Hugues Wilhelm in Berthe Morisot, 1841–1895. Exh. cat., Palais des Beaux-Arts de Lille. Paris, 2002, pp. 294–95, under no. 86, fig. 3 (color).
Anne E. Dawson. Idol of the Moderns: Pierre-Auguste Renoir and American Painting. Exh. cat., San Diego Museum of Art. San Diego, 2002, pp. 17, 23–24, 26, 32, 41, 47, 54, 57, ill., comments that its for the MMA enhanced Renoir's reputation in America, and may have influenced Durand-Ruel's decision to organize the artist's first solo exhibition in this country the following year.
Impressionist & Modern Art, Part One. Sotheby's, New York. November 5, 2003, p. 20, under no. 4, fig. 1 (color).
James H[enry]. Rubin. Impressionist Cats & Dogs: Pets in the Painting of Modern Life. New Haven, 2003, pp. 1, 67, 88, 90–94, figs. 2, 70 (color, overall and detail).
Barbara Dayer Gallati. Children of the Gilded Era: Portraits by Sargent, Renoir, Cassatt, and their Contemporaries. London, 2004, pp. 76–78, ill. (color).
Akiko Fukai in Fashion in Colors. Exh. cat., Cooper Hewitt, National Design Museum. New York, 2004, p. 18, ill. p. 16, discusses Mme Charpentier's black dress as "the color of the moment, associated with dignity, mystery, and elegance".
Ann Dumas in Ann Dumas and John Collins. Renoir's Women. Exh. cat., Columbus Museum of Art, Columbus, Ohio. London, 2005, pp. 40, 114, 116, 119, fig. 25 (color).
Richard Rand in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 253.
Sidsel Maria Søndergaard in Women in Impressionism: From Mythical Feminine to Modern Woman. Ed. Sidsel Maria Søndergaard. Exh. cat., Ny Carlsberg Glyptotek, Copenhagen. Milan, 2006, p. 58, fig. 63 (color).
John Collins in Inspiring Impressionism: The Impressionists and the Art of the Past. Ed. Ann Dumas. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, pp. 233–34, 239, 241 n. 64, fig. 108 (color).
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, p. 7, fig. 13 (installation photo).
Lin Arison in Lin Arison and Neil Folberg. Travels with Van Gogh and the Impressionists: Discovering the Connections. New York, 2007, p. 84, ill. pp. 83, 261 (color).
Rebecca A. Rabinow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 153, 297–98, no. 142, ill. (color and black and white).
Guy-Patrice Dauberville, and Michel Dauberville, with Camille Fremontier-Murphy. Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. 1, 1858–1881. Paris, 2007, pp. 281–82, 480, no. 239, ill.
Christine I. Oaklander. "Jonathan Sturges, W. H. Osborn, and William Church Osborn: A Chapter in American Art Patronage." Metropolitan Museum Journal 43 (2008), p. 191.
Albert Kostenevich. Renoir: Compositions with Stairs. St. Petersburg, 2009, pp. 31–32, ill.
Laurence Madeline in Renoir in the 20th Century. Exh. cat., Los Angeles County Museum of Art. Ostfildern, 2010, p. 130, fig. 57 (color) [French ed., "Renoir au XXe siècle," Paris, 2009], notes its influence on Picasso's "Portrait of Madame Rosenberg and Her Daughter" of 1918 (Musée National Picasso, Paris).
R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 839.
John House in Renoir in the Barnes Foundation. New Haven, 2012, p. 7, fig. 10 (color).
Gloria Groom in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, pp. 39, 306 n. 46 [French ed., "L'Impressionnisme et la Mode," Paris, 2012, pp. 79, 80 n. 45].
Justine De Young in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, pp. 239–40 [French ed., "L'Impressionnisme et la Mode," Paris, 2012, pp. 261–62].
Sylvie Patry in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, pp. 244–51, 320–22 nn. 1–52, ill. pp. 245–46 (color, overall and detail) [French ed., "L'Impressionnisme et la Mode," Paris, 2012, pp. 99–105, ill. p. 98 (color)], discusses the fashionability of the portrait; notes that the Newfoundland dog Porthos was a gift from Clotilde Schultz, one among Charpentier's stable of writers; states that the Charpentier publishing house was at its peak when Renoir painted the portrait.
Andrea Bayer. "Collecting North Italian Paintings at The Metropolitan Museum of Art." A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America. Ed. Inge Reist. University Park, Pa., 2015, p. 84.
Anne Distel in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, p. 133 [French ed., 'Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, p. 105].