Thomas B. Hess. Willem de Kooning. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 20–21, ill. p. 32, identifies the artist's unique play between the figures' gazes and the reverse perspective derived from Louis Le Nain.
Michael Kimmelman. "Willem de Kooning Dies at 92; Reshaped U.S. Art." New York Times (March 20, 1970), ill. p. B14.
Sally Yard. "Willem de Kooning's Men." Arts Magazine 56 (December 1981), pp. 137–39, 142–43, ill. p. 135, calls it "Two Men Standing" and dates it c. 1938; identifies this painting as the artist's first major figure painting; states that this painting evolved directly from the drawing "Self–Portrait with Imaginary Brother" (private collection, New York).
Jörn Merkert in Willem de Kooning: Drawing, Painting, Sculpture. Exh. cat., Whitney Museum of American Art. New York, 1983, p. 117, no. 138, ill. p. 137 (color).
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), p. 21, fig. 14 (color).
Sally Yard. Willem de Kooning: The First Twenty–Six Years in New York. New York, 1986, pp. 53, 55–63, 66, 75, 93, fig. 58, calls it "Two Men Standing"; relates it to another de Kooning drawing, "Self–Portrait with Imaginary Brother", c. 1938 (private collection, New York); identifies the "ghost of an alternative position" for the lefthand figure's right arm as the first instance of a "willful pentimento" that recurs in many of the artist's early works; names this work as the artist's first large, major figure painting which established pictorial concerns that continued throughout his career; notes the righthand figure's sexual ambiguity due to it wearing both a skirt and knee length trousers; calls the figures "Gorkyesque".
Sally Yard. "The Angel and the Demoiselle: Willem de Kooning's 'Black Friday'." Record of the Art Museum, Princeton University 50, no. 2 (1991), pp. 18, 22, calls it "Two Men Standing" and dates it about 1938.
Marla Prather in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1994, pp. 77–79, no. 1, dates it c. 1938; identifies this painting as the earliest and largest extant early work, as well as the earliest work in the exhibition.
Judith Wolfe. "The Young Willem de Kooning: Early Life, Training and Work, 1904–1926." PhD diss., City University of New York, 1996, pp. 297–98, fig. 118, calls it "Two Men Standing".
Mark Stevens and Annalyn Swan. De Kooning: An American Master. New York, 2004, pp. 142–43, ill. (color), date it circa 1938; describe this painting as "a picture of a man trying to make a man".
Jennifer Field in John Elderfield. de Kooning: A Retrospecitve. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 188 n. 2,.
Judith Zilczer. A Way of Living: The Art of Willem de Kooning. London, 2014, p. 35, 105, fig. 40 (color).