Elie Faure. Soutine. Paris, 1929, pl. 27, calls it "Portrait" and dates it 1928.
Monroe Wheeler. 20th Century Portraits. Exh. cat., Museum of Modern Art. New York, 1942, pp. 16, 143, ill. p. 89, dates it about 1928; reproduces a photograph of Castaing; considers it "an unflattering likeness," adding that "all [Soutine's] painting, even when his subject is a woman of the world, is full of a feeling for the distress and the innocent ugliness of poor humanity".
Alfred H. Barr Jr., ed. Painting and Sculpture in the Museum of Modern Art. New York, 1942, p. 76, no. 578, as "Portrait of Mme. Marcel Castaing," on extended loan from Miss Adelaide M. de Groot [from 1936].
Edward Alden Jewell. "Artist and His Sitter: Museum of Modern Art Opens Exhibition of Portraiture in This Century." New York Times (December 13, 1942), p. X9.
Alfred H. Barr, Jr., ed. Painting and Sculpture in the Museum of Modern Art. New York, 1948, p. 321, ill. p. 63, calls it "Portrait of Mme Marcel Castaing," dates it about 1928, and notes that it is on extended loan from Adelaide M. de Groot.
Monroe Wheeler. Soutine. Exh. cat., Museum of Modern Art, New York. New York, 1950, pp. 92, 113, ill. p. 95, dates it about 1928.
Emil Szittya. Soutine et son temps. Paris, 1955, p. 69 n. 3, p. 115, dates it 1928.
Waldemar George. Soutine. Paris, 1959, unpaginated.
Henry P. Raleigh. "Image and Imagery in Painting." Art Journal 21 (Spring 1962), pp. 160–61, fig. 6, calls it "Portrait of Mme. Marcel Castaing".
"Modigliani and Soutine—Two Painters of the 20th Century." Illustrated London News (September 14, 1963), p. 389, ill., listed with the erroneous caption for "Woman in Red," ca. 1922, collection Dr. and Mrs. Harry Bakwin, New York.
T. Elder Dickson. "International and Scottish." Studio International Art 166 (November 1963), p. 205, dates it 1928.
David Sylvester. "Soutine." Sunday Times Colour Magazine (September 15, 1963), p. 8, ill. (color), dates it about 1925.
Douglas Hall. "Modigliani and Soutine at Edinburgh, 1963." Art International 7 (November 10, 1963), ill. p. 44, dates it about 1928.
Maurice Tuchman in Chaim Soutine, 1893–1943. Exh. cat., Royal Scottish Academy, Edinburgh. [London], 1963, p. 24, no. 40, pl. 24, dates it about 1928; notes that this picture is unusual among Soutine's portraits because of the sophistication and "nervous grace" of the sitter, adding that it is the only Soutine portrait that depicts the sitter smoking.
Andrew Forge. Soutine. London, 1965, p. 42, colorpl. 35, dates it about 1928.
Pierre Courthion. Soutine: Peintre du déchirant. Lausanne, 1972, pp. 93, 151, ill. pp. 151, 271, fig. D, dates it about 1928.
Raymond Cogniat. Soutine. New York, 1973, p. 81, ill. p. 51 (color), dates it 1928.
Jean Leymarie. Soutine. Exh. cat., Orangerie des Tuileries. Paris, 1973, pp. 7, 89, 100, no. 45, ill. p. 48 (color), dates it about 1928.
Edith Hoffmann. "Soutine: Ausstellung in Paris." Neue Zürcher Zeitung (July 26, 1973), p. 39.
Maurice Tuchman. Chaim Soutine, 1893–1943. Exh. cat., Marlborough Gallery, Inc. New York, 1973, pp. 9, 15, no. 54, ill. p. 70, dates it about 1928.
Avram Kampf. Jewish Experience in the Art of the Twentieth Century. Exh. cat., Jewish Museum. New York, 1975, pp. 19, 61, no. 230, dates it 1928.
Alfred Werner. Chaïm Soutine. New York, 1977, pp. 62, 134, 140, colorpl. 35, dates it about 1928.
Robin Gibson. 20th Century Portraits. Exh. cat., National Portrait Gallery. London, 1978, p. 78, no. 68, ill., dates it about 1928.
Keith Roberts. "Current and Forthcoming Exhibitions. London." Burlington Magazine 120 (August 1978), p. 551, fig. 67 (detail).
Madeleine Castaing in Chaim Soutine, 1893–1943. Ed. Ernst-Gerhard Güse. Exh. cat., Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. London, 1982, p. 14, fig. 2; p. 133, fig. 41, dates it about 1928.
Esti Dunow in Soutine (1893–1943). Exh. cat., Galleri Bellman. New York, 1983, pp. 11, 67, colorpl. 28, dates it about 1928.
Grace Glueck. "Art: Three Decades of Chaim Soutine Paintings." New York Times (December 30, 1983), p. C21.
Colette Giraudon in Michel Hoog. Musée de l'Orangerie. Catalogue de la collection Jean Walter et Paul Guillaume. Paris, 1984, p. 282, erroneously lists it in the collection of the Pierre Matisse Gallery.
John Yau and Rachel Stella. "Madeleine Castaing Reminisces About Chaim Soutine." Arts Magazine 59 (December 1984), p. 72, relate Castaing's recollection that Soutine asked her to pose for him, beginning the sittings in his Paris studio but then continuing at the Castaing's country home, where he stayed from 1929, eventually painting "a great many portraits" of her, of which only two survived [see Ref. Tuchman et al. 1993]; quote Castaing's comment that she "didn't think [this portrait] was a very good likeness" and that she sold it to the MMA.
Terence Measham in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 39, ill. (color), dates it 1928; describes the sitter's hands as conveying "nervous anxiety" in this "psychologically charged confrontation between artist and subject".
William S. Lieberman. 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 1, Painting: 1905–1945. New York, 1986, pp. 40–41, ill. (color, overall and detail), calls it "Madeleine Castaing" and dates it 1928.
Frank B. Diamond. "A Portrait of Soutine." Inside 7 (Fall 1986), ill. p. 21 (color), as "Portrait of Madame Marcel Castaing," 1928.
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 137, colorpl. 114, calls it "Madeleine Castaing" and dates it 1928.
Stanley Meisler. "Soutine: The Power and the Fury of an Eccentric Genius." Smithsonian 19 (November 1988), pp. 134–35, ill. p. 139 (color), calls it "Madeleine Castaing" and dates it 1928.
Richard Shone. "Chartres. Soutine." Burlington Magazine 131 (December 1989), p. 867, comments that this work is the closest Soutine "came to a 'society portrait'".
William S. Lieberman in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. Yokohama, 1989, p. 208, no. 170, ill. (color), states that this portrait was commissioned in 1928; notes that it required six sittings and reflects the sitter's impatience.
Maïthé Vallès-Bled. Soutine. Exh. cat., Musée de Chartres. Chartres, 1989, pp. 246–49, no. 52, ill. (color, overall and detail), notes that Castaing posed many times in Soutine's Paris studio; observes that only two Soutine portraits captured the personality of the sitter, this one and the portrait of Maria Lani (1929; Museum of Modern Art, New York).
Michel Boudaud. "Madeleine Castaing, la grande dame de Lèves, a quitté le siècle." La République du Centre 48 (December 19–20, 1992), ill. p. 2 (two installation photos of Exh. Chartres 1989, with Madeleine Castaing standing before this picture).
Catherin Fisher. "The Secret of Soutine: An Interview with Madeleine Castaing." Apollo 135 (February 1992), pp. 94, 97, colorpl. 1, dates it 1928.
Maurice Tuchman, Esti Dunow, and Klaus Perls. Chaim Soutine (1893–1943): Catalogue raisonné. Werkverzeichnis. Cologne, 1993, vol. 2, pp. 712–13, no. III-138, ill. (color), in addition to this work, catalogue two other portraits of Madeleine Castaing, both dated about 1929 (no. III-136, Norton Museum of Art, West Palm Beach, Fla.; no. III-137, Acquavella Modern Art, Reno, Nev.).
Nancy L. Ross. "Madeleine Castaing's World." Washington Post (May 11, 1995), ill., dates it 1928.
Colette Giraudon in Norman L. Kleeblatt and Kenneth E. Silver. An Expressionist in Paris: The Paintings of Chaim Soutine. Exh. cat., Jewish Museum, New York. New York, 1998, fig. 50a.
Billy Klüver and Julie Martin in Norman L. Kleeblatt and Kenneth E. Silver. An Expressionist in Paris: The Paintings of Chaim Soutine. Exh. cat., Jewish Museum, New York. New York, 1998, p. 107, date it 1928.
Ellen Pratt in Norman L. Kleeblatt and Kenneth E. Silver. An Expressionist in Paris: The Paintings of Chaim Soutine. Exh. cat., Jewish Museum, New York. New York, 1998, pp. 126, 197, colorpl. 28, notes that an X ray of this painting shows that strips of canvas were added to the right and top edges, while the left edge was cut down, perhaps in order to center the subject in the middle of the composition.
Mira Goldfarb Berkowitz in Norman L. Kleeblatt and Kenneth E. Silver. An Expressionist in Paris: The Paintings of Chaim Soutine. Exh. cat., Jewish Museum, New York. New York, 1998, p. 200, lists it in the chronology under 1928–29.
Roberta Smith. "Exposing a Heart Seething: Exposing a Heart at a Full Boil." New York Times (April 24, 1998), p. E35, ill. p. E31.
Mitchell Owens. "For Sale: A Diva's Eccentric Legacy." New York Times (September 23, 2004), p. F5, ill. (color).
"Works by Chaim Soutine from the Castaing Collection." Impressionist & Modern Art Evening Sale. Sotheby's, London. June 21, 2004, p. 139, under nos. 44–46, fig. 3 (color), dates it 1928.
Paloma Alarcó in The Mirror and the Mask: Portraiture in the Age of Picasso. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2007, pp. 65, 325, no. 26, ill. p. 87 (color).
Wendy Moonan. "Antiques: Remembering a Woman Of Very Original Tastes." New York Times (February 15, 2008), p. E40.
Jean-Noël Liaut. Madeleine Castaing: Mécène à Montparnasse. Décoratrice à Saint-Germain-des-Prés. Paris, 2008, pp. 84–85, fig. 10, dates it 1928 in the text and 1929 in the caption.
Christopher Petkanas. "Châtelaine of St.-Germain." New York Times (October 19, 2008), p. B58, ill.
Colette Giraudon in Chaïm Soutine. Exh. cat., Musée de l'Orangerie. Paris, 2012, pp. 37, 160, 168, no. 3, ill. (color) front cover and p. 68.
Philippe Piguet. "Chaïm Soutine: Peintre de l'incarné." L'Œil no. 652 (December 2012), p. 76.