Bryan Robertson. Jackson Pollock. New York, 1960, colorpl. 22.
Lawrence Alloway. "Jackson Pollock." Paletten 1 (1961), ill. p. 82, calls it "Opus".
Yoshiaki Tōno. "Jackson Pollock, or the New Rite of Hate–Love for Image." Mizue no. 672 (April 1961), ill. p. 18.
Hugh Graham. "Trails of the Unconscious." Spectator no. 6936 (June 2, 1961), p. 797, references it as "No. 61" in text, its checklist number in Exh. London 1961.
John Russell. "The Agony of Jackson Pollock." Sunday Times (May 28, 1961).
John M. Nash. "An Artist Who Flung His Paint at the Canvas." Yorkshire Post (May 30, 1961).
Terence Mullaly. "Vast Talent of Pollock." Daily Telegraph (June 1, 1961).
Ulf Linde. "Jackson Pollock." Louisiana Revy 4 (September 1963), ill. p. 9.
Kristian Romare. "Att Se Isommar." Sydsvenska Dagbladet (July 24, 1963).
C.H. Waddington. Behind Appearance: A Study of the Relations Between Painting and the Natural Sciences in this Century. Cambridge, Mass., 1969, pl. 89.
Lawrence Alloway. "Pollock's Black Paintings." Arts Magazine 43 (May 1969), p. 42, ill.
Alberto Busignani. Pollock. New York, 1971, fig. 33.
Italo Tomassoni. Pollock. New York, 1978, colorpl. 66.
Francis Valentine O'Connor and Eugene Victor Thaw, ed. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. Vol. 2, Paintings, 1948–1955. New Haven, 1978, pp. 176–77, no. 354, ill.
Francis V. O'Connor. Jackson Pollock: Black Pourings, 1951–1953. Exh. cat., Institute of Contemporary Art, Boston. Boston, 1980, p. 21, pl. 6.
Elizabeth Frank. Jackson Pollock. New York, 1983, p. 93, fig. 85 (color), states that this painting moves towards both figuration and abstraction wtih the head emerging from the "blotches, curves, and flecks" being "entirely nonspecific".
William S. Lieberman in Jackson Pollock: Opere 1930–1956. Exh. cat., Palazzo Venezia. Rome, 1983, p. 11.
Flavio Caroli in Jackson Pollock: Opere 1930–1956. Exh. cat., Palazzo Venezia, Rome. Venice, 1983, p. 96, ill. p. 71 (color).
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), p. 39, fig. 35 (color).
Lisa M. Messinger in "Twentieth Century Art." Recent Acquisitions: A Selection, 1987–1988. New York, 1988, pp. 64–65, ill., states that this painting is an example of Pollock's return to figurative images while still working in his signature drip style.
Ellen G. Landau. Jackson Pollock. New York, 1989, ill. p. 216.
Lisa Mintz Messinger in Jackson Pollock: Zeichnungen. Exh. cat., Württembergischer Kunstverein. Stuttgart, 1990, p. 66, ill.
Ben Heller. Jackson Pollock: Black Enamel Paintings. Exh. cat., Gagosian Gallery. New York, 1990, p. 24, no. 8 (color).
Nan Rosenthal. "The Pollock Sketchbooks: An Introduction." The Jackson Pollock Sketchbooks in The Metropolitan Museum of Art. New York, 1997, p. 17, fig. 7, states that this work is an example of Pollock's third mature style in which figuration often returns; notes the spots of paints' resemblance to a helmeted head.
Philippe Monsel. Jackson Pollock, 1912–1956. Paris, 1997, colorpl. 39, as "Out of the Web, Number 7," 1949, in the collection of L.S. Pollock.
Jordan Kantor in Jackson Pollock's Blue Poles. Ed. Anthony White. Exh. cat., National Gallery of Australia. Canberra, 2002, p. 41, ill. p. 43 (color).
Marcia Brennan. Modernism's Masculine Subjects: Matisse, the New York School, and Post–Painterly Abstraction. Cambridge, Mass., 2004, pp.121–24, fig. 4.1 (color), cites this painting as an example of the artist's black and white paintings "poised between the veiling and the exposure of its imagery, and thus between abstraction and its potential for figuration".
William Jeffett in Pollock to Pop: America's Brush with Dalí. Exh. cat., Salvador Dalí Museum. St. Petersburg, Fla., 2005, p. 61, ill. p. 62 (color).
Chelsea Pierce and Fabian Leyva-Barragan in Jackson Pollock: Blind Spots. Ed. Gavin Delahunty. Exh. cat., Tate Liverpool. London, 2015, pp. 148–49, 156, ill. p. 79 (color), calls it "Number 7, 1952".