Thomas B. Hess. Willem de Kooning. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 77, 162, no. 55, ill. pp. 78 (detail) and 83.
Gabriella Drudi. Willem de Kooning. Milan, 1972, p. 34, fig. 70 (color), calls it "Study for Woman".
Thomas B. Hess. "Pinup and Icon." Art News Annual Ed. Thomas B. Hess and Linda Nochlin. 38 (1972), pp. 228–29, ill. p. 222, calls it "Study for 'Woman'"; states that the "mouth was cut out of a cigarette advertisement"; compares the figure's pose to that of M. Bertin in Ingres' famous portrait (1832, The Louvre, Paris).
Harold Rosenberg. de Kooning. New York, , p. 8, pl. 86, calls it "Study for Woman".
Sally Yard. "Willem de Kooning's Women." Arts Magazine 53 (November 1978), pp. 99–100, ill., calls it "Study for Woman"; notes the figure's "eye/breast" and traces the motif to Picasso's "Three Dancers" (1925, Tate Modern, London).
Charles Stuckey. "Bill de Kooning and Joe Christmas." Art in America 68 (March 1980), p. 76, fig. 11, calls it "Study for Woman"; describes the figure's breasts as eyes and the arms as legs.
Robert Rosenblum in Willem de Kooning. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1984, p. 11, ill. p. 88 (color).
Lisa M. Messinger in "Notable Acquisitions 1984–1985." Metropolitan Museum of Art Bulletin 42 (1985), pp. 56–57, ill., calls it "Woman".
Lynne Cooke. "Willem de Kooning: 'A Slipping Glimpser'." PhD diss., Courtauld Institute, 1988, p. 525 n. 148, calls it "Study for Woman".
Diane Waldman. Willem de Kooning. New York, 1988, pp. 82, 85, pl. 63.
Mildred Glimcher. Willem de Kooning, Jean Dubuffet : The Women. Exh. cat., The Pace Gallery. New York, 1990, p. 23, colorpl. 8.
Robert Rosenblum in Willem de Kooning: An Exhibition of Paintings. Exh. cat., Salander-O'Reilly Galleries, Inc. New York, 1990, unpaginated.
Stephen Polcari. Abstract Expressionism and the Modern Experience. Cambridge, 1991, p. 286, fig. 224, calls it "'Study' for Woman I" and dates it ca. 1950.
Lisa Mintz Messinger. Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art. Exh. cat., High Museum of Art, Atlanta. New York, 1992, pp. 18, 26, fig. 9 (color), calls this painting "one of the most lively and fully realized of de Kooning's small–scale Women"; suggests that comparisons with pencil drawings from 1951–52 support the possibility that this painting may have been created a year or two later than originally thought.
Diane Waldman. Roy Lichtenstein. Exh. cat., Solomon R. Guggenheim Museum. New York, 1993, pp. 49, 263, fig. 206 (color).
Richard Shiff in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1994, p. 39, fig. 7.
Marla Prather in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1994, p. 102 n. 6.
Lisa Messinger. Abstract Expressionism: Works on Paper, Selections from The Metropolitan Museum of Art. Exh. cat., National Museum of Modern Art, Tokyo. Tokyo, 1995, pp. 52–53, no. 26, ill. (color).
Diane Waldman. De Kooning: The Women, Works on Paper 1947–1954. Exh. cat., C&M Arts. New York, 1995, unpaginated, colorpl. 5.
Judith Wolfe. "The Young Willem de Kooning: Early Life, Training and Work, 1904–1926." PhD diss., City University of New York, 1996, p. 577, fig. 315.
Lisa M. Messinger. Expresionismo Abstracto: Obra Sobre Papel, Colección The Metropolitan Museum of Art, Nueva York. Exh. cat., Fundación Juan March. Madrid, 2000, p. 64, no. 27, ill. p. 69 (color).
Michael von Uchtrup. "Ray Johnson and the Road From BMC Into – and Out of – New York." Journal of Black Mountain College Studies. Vol. 1, no. 2, 2001, unpaginated.
Enrique Juncosa in Willem de Kooning. Exh. cat., IVAM / Institut Valencia d'Art Modern. Valencia, 2001, p. 10.
Cornelia H. Butler in Willem de Kooning: Tracing the Figure. Exh. cat., Museum of Contemporary Art, Los Angeles. Los Angeles, 2002, pp. 187–89, ill. (color).
Julia Blaut in James Rosenquist: A Retrospective. Exh. cat., Menil Collection and Museum of Fine Arts, Houston. New York, 2003, p. 26, fig. 36 (color), identifies this work as the only one by the artist in Exh. New York 1961.
Stefan Neuner in Willem de Kooning. Ed. Ingried Brugger and Florian Steininger. Exh. cat., Kunstforum Wien. Vienna, 2005, pp. 29–30, fig. 8 (color).
Florian Steininger. Willem de Kooning. Exh. cat., Kunstforum Wien. Vienna, 2005, pp. 58–59, fig. 5 (color).
John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 250, colorpl. 81, suggests that this work should be dated later than 1950 based on photographs of Woman I (Museum of Modern Art, New York) taken in 1951 in which the painting's transitional state looks similar to MMA's smaller work.
Richard Shiff. Between Sense and de Kooning. London, 2011, p. 202, fig. 79 (color).