Alfred Robaut. L'œuvre complet de Eugène Delacroix. Paris, 1885, pp. 386, 538, no. 1439, ill. (engraving), erroneously states that it is signed on the right and belongs to M. Choquet [sic], but elsewhere corrects this information, locating it with MM. Et. Leroy et Cie; lists a drawing (no. 1374, present location unknown) and two other paintings of this subject (no. 1375, present location unknown; no. 1376, National Gallery, London).
Étienne Moreau-Nélaton. Delacroix raconté par lui-même. Paris, 1916, vol. 2, pp. 187–88, 204, fig. 401, calls it both "Ovide chez les Scythes" and "Ovide exilé chez les Barbares".
Julius Meier-Graefe. Eugène Delacroix: Beiträge zu einer Analyse. Munich, 1922, ill. p. 231.
Geoffrey Webb. "Ingres to Cézanne." Burlington Magazine 46 (June 1925), p. 288, pl. IIB.
Raymond Escholier. Delacroix: Peintre, Graveur, Écrivain. Vol. 3, Paris, 1929, ill. opp. p. 260.
Louis Hourticq. Delacroix: L'œuvre du maître. Paris, 1930, p. 182, ill., as still in the collection of Bernheim-Jeune.
René Huyghe. Delacroix. New York, 1963, p. 418, colorpl. LVI, as in a private collection, Switzerland.
Martin Davies with additions and some revisions by Cecil Gould in French School: Early 19th Century, Impressionists, Post-Impressionists, etc. London, 1970, pp. 58–59 nn. 10–11, calls it a smaller version with some variations of the 1859 painting (National Gallery, London).
Lee Johnson. The Paintings of Eugène Delacroix: A Critical Catalogue. Vol. 3, Oxford, 1986, pp. 139, 151, 158–59, no. 345, calls it a variant of the London painting, but finds it closer to the oil sketch, which he dates about 1855; suggests that "Delacroix heeded the widespread criticism at the Salon of the dominance of the mare at the expense of the hero" by representing Ovid on a larger scale in the MMA picture.
Lee Johnson. The Paintings of Eugène Delacroix: A Critical Catalogue. Vol. 4, Oxford, 1986, pl. 143.
Barthélémy Jobert. Delacroix. Princeton, 1998, pp. 295, 326 n. 144 [French ed., Paris, 1997, pp. 295, 327 n. 144], as in a private collection, Bern.
Gary Tinterow in "Recent Acquisitions, A Selection: 2007–2008." Metropolitan Museum of Art Bulletin 66 (Fall 2008), p. 38, ill. (color).
Margret Stuffmann in Eugène Delacroix, Reflections: Tasso in the Madhouse. Exh. cat., Oskar Reinhart Collecion 'Am Römerholz,' Winterthur. Munich, 2008, pp. 76, 78, ill. (color), states that this late version testifies to the importance of the theme to the artist, and adds that he relied on the early oil study for its composition.
Barthélémy Jobert in Une passion pour Delacroix: La collection Karen B. Cohen. Exh. cat., Musée National Eugène Delacroix. Paris, 2009, p. 25.
Colta Ives in Une passion pour Delacroix: La collection Karen B. Cohen. Exh. cat., Musée National Eugène Delacroix. Paris, 2009, pp. 30, 34.
Michèle Hannoosh, ed. Eugène Delacroix: Journal. Paris, 2009, vol. 1, p. 440 n. 164, vol. 2, p. 1552 n. 119.