R.[obert] R.[osenblum]. "In The Galleries: Willem de Kooning." Arts 30 (May 1956), p. 50.
Dore Ashton. "Art." Arts & Architecture 73 (June 1956), p. 10, calls this painting a "large tour–de–force" and suspects that it was completed only weeks before Exh. New York 1956 opened.
Robert Beverly Hale. "The American Moderns." Metropolitan Museum of Art Bulletin 16 (Summer 1957), ill. p. 26.
Harriet Janis and Rudi Blesh. De Kooning. New York, 1960, p. 65, pl. G (color), date it 1956.
Henry Geldzahler. American Painting in the Twentieth Century. New York, 1965, p. 197, ill. p. 198.
Thomas B. Hess. Willem de Kooning. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 50, 102, 123, ill. p. 109 (color), claims the title is from its day of completion; notes the many "E"s throughout the composition.
Andrew Forge. "De Kooning's 'Women'." Studio International 176 (December 1968), p. 248.
Henry Geldzahler. New York Painting and Sculpture: 1940–1970. Exh. cat., The Metropolitan Museum of Art. New York, 1969, p. 23.
Thomas N. Maytham. Great American Paintings from the Boston and Metropolitan Museums. Exh. cat., Seattle Art Museum. Seattle, 1970, pp. 19, 146, no. 95.
Nora B. Beeson. Guide to The Metropolitan Museum of Art. New York, 1972, p. 286, fig. 18.
Harry F. Gaugh. Willem de Kooning. New York, 1983, pp. 56–64, 74, fig. 48 (color), dates it 1956; labels this painting as one of the most "ambitious and noisy produced during the height of Abstract Expressionism"; likens the red slash in the center right of the composition to an open wound.
Jörn Merkert in Willem de Kooning: Drawing, Painting, Sculpture. Exh. cat., Whitney Museum of American Art. New York, 1983, p. 126, no. 203, ill. p. 189 (color), calls this painting an "abstract urban landscape".
Harry F. Gaugh. "De Kooning in Retrospect." Art News 83 (March 1984), pp. 91, 95.
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), pp. 9, 45 fig. 36 (color).
Kirsten Hoving Powell. "Resurrecting Content in de Kooning's 'Easter Monday'." Smithsonian Studies in American Art 4 (Summer–Autumn 1990), pp. 86-101, ill. frontispiece, figs. 3a (detail), 4 (detail), 5 (detail), 6 (detail), 8a (detail), 9a (detail), 10a (detail), 11 (detail), 13a (detail),, claims that Thomas Hess' original description of this painting as part of a series of abstract cityscapes has shaped its subsequent interpretations; relates how Hess erroneously believed the artist titled this painting so because he finished it on Easter Monday, which could not be correct because the painting was first exhibited at the Sidney Janis Gallery on Easter Monday in 1956 under this title; suggests the title reflects the artist's ongoing interest in Christian subject matter.
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. 16, 24 n. 34, 25 n. 55.
April Kingsley. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York, 1992, p. 225.
Lee Hall. Elaine and Bill, Portrait of a Marriage: The Lives of Willem and Elaine de Kooning. New York, 1993.
Richard Shiff in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1994, p. 54.
Marla Prather in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1994, pp. 134, 136 ns. 60, 62–63, no. 40 (color), states that this painting was shown in Exh. New York 1956 but erroneously calls the show "7 Americans" (correct title is "Willem de Kooning: Recent Paintings"); relates that Elaine de Kooning claims she titled this painting.
David Anfam. "De Kooning, Bosch and Bruegel: Some Fundamental Themes." Burlington Magazine (October 2003), pp. 705, 715.
Barbara Hess. Willem de Kooning, 1904–1997: Content as a Glimpse. Cologne, 2004, p. 32, ill. p. 45 (color).
Mark Stevens and Annalyn Swan. De Kooning: An American Master. New York, 2004, pp. 379–82, 387, ill. (color), suggest this work is titled thus because the artist struggled to complete in time for hisecond one–man show at the Sidney Janis Gallery, which opened the Monday after Easter in 1956; call this work the artist's "first truly mainstream painting"; claim that its vertical nature and the angular brushstrokes across the canvas evoke the Crucifixion and suggest that the flesh tones and red slash represent Christ's wounded body on the cross.
John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 33, 35–36, 292–94, 305, 343, colorpl. 105, states that this was the artist's second largest painting and his last large painting.
Lauren Mahoney in John Elderfield. de Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 387.
Delphine Huisinga in John Elderfield. de Kooning: A Retrospective. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 245, 396, 444, notes that the date "March 25, 1956" appears in one of the newspaper transfers which shows the artist was still working on it at that time; lists this painting as shown in two exbitions at the Janis Gallery in 1956, "Recent Paintings by Willem de Kooning (opened April 2) and "7 Americans" (opened September 24); quotes Ref. Gaugh 1984.
Susan F. Lake in John Elderfield. de Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 296–98, ill. (color, detail and overall), figs. 1 & 2 (color, details), describes the methods and materials the artist used to create this painting.
Jim Coddington in John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 223.
Richard Shiff. Between Sense and de Kooning. London, 2011, pp. 7, 238, fig. 95 (color).
Judith Zilczer. A Way of Living: The Art of Willem de Kooning. London, 2014, p. 132, fig. 161, posits that the artist's wife, Elaine de Kooning, titled this painting.