Stanislas Fumet. Braque. Paris, , fig. 36, as "La Peintresse," 1938.
Maurice Gieure. G. Braque. Paris, 1956, pp. 82,101, pl. 93, calls it "The Woman Painter".
René Ben Sussan in John Russell. G. Braque. London, 1959, p. 125, under no. 53.
Nicole S. Mangin. Catalogue de l'œuvre de Georges Braque. Vol. , Peintures 1936–1941. [Paris], 1961, p. 1, ill., as "Femme au chevalet (paravent jaune)".
Lucy R. Lippard in The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection. Exh. cat., Museum of Modern Art. New York, 1965, pp. 34–35, ill. (color), notes that it is "one of a large series begun in 1936 portraying interiors with seated women engaged in artistic pursuits".
James Thrall Soby in The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection. Exh. cat., Museum of Modern Art. New York, 1965, p. 9.
Raymond Cogniat. Georges Braque. New York, 1980, p. 132, fig. 62, as "Woman with an Easel (Yellow Screen)".
Nadine Pouillon with Isabelle Monod-Fontaine. Braque:Œuvres de Georges Braque (1882–1963). Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1982, p. 100, under no. 24, fig. 5, call it "La Femme au chevalet (paravent jaune)"; dates the series of women in interiors from 1936–39.
Karen Wilkin. Georges Braque. New York, 1991, p. 79, fig. 58 (color).
Jean Leymarie. Braque: Les ateliers. Aix-en-Provence, 1995, pp. 72, 97–98, colorpl. 27, calls it "La Femme au chevalet (Paravent jaune)"; discusses it with two other versions of this composition with a female figure symbolizing painting, both also dated 1936: "Femme à la palette" (former collection J. Delubac, Paris; now Musée des Beaux-Arts, Lyon) and "La Femme au chevalet (Paravent vert)" (former Sara Lee Corporation, Chicago; now Art Institute of Chicago)
William S. Lieberman in "Recent Acquisitions. A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), pp. 78–79, ill. (color), identifies the setting as Braque's studio in Varengeville, near Dieppe on the Normandy coast; notes that Braque painted about ten interiors of women engaged in musical or artistic pursuits; remarks that the painting on the easel recalls Picasso's contemporaneous sculpted heads of Marie-Thérèse Walter.
William S. Lieberman. "Donnés au Met." Connaissance des arts no. 539 (May 1997), p. 71, ill. (color).
Grace Glueck. "A Surprise, and Then a Collection." New York Times (February 28, 1997), p. C31.
Christian Briend in "Catalogue." De Manet à Bacon: La collection Jacqueline Delubac. Lyon, 1998, p. 62.
Sophie Bowness. "Braque's Etchings for Hesiod's 'Theogony' and Archaic Greece Revived." Burlington Magazine 142 (April 2000), p. 214.
William S. Lieberman in Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York. Exh. cat., Kyoto Municipal Museum of Art. [Tokyo], 2002, pp. 120, 126–27, 166, no. 62, ill. (color).
Roberta Smith. "Artists Caught in the Act." New York Times (January 5, 2007), p. E44, ill.
Richard Shiff in Georges Braque: Pioneer of Modernism. Exh. cat., Acquavella Galleries. New York, 2011, pp. 41, 146, 150, colorpl. 34.
Dieter Buchhart in Georges Braque: Pioneer of Modernism. Exh. cat., Acquavella Galleries. New York, 2011, p. 65.