Philippe Marcel. "Henri Matisse." L'Art d'aujourd'hui 1 (summer 1924), colorpl. XXX, as "La séance de trois heures".
Jacques Mauny. "The Autumn Salon." Arts 8 (November 1925), ill. p. 287, as "The Model".
Florent Fels. Henri-Matisse. Paris, 1929, pl. 23, as "La Séance de trois heures".
W[aldemar]. G[eorge]. "The Dual Aspect of Matisse." Formes 16 (June 1931), ill. between pp. 94 and 95, as "L'Atelier (The Studio)" in the collection of Stephan [sic] C. Clark, New York.
Edward Alden Jewell. "Art in Review: Mr. and Mrs. S. C. Clark Open Benefit Exhibition of Their Collection of Matisse Canvases." New York Times (November 16, 1932), p. 23, as "The Three O'Clock Pose".
Jean H. Lipman. "Matisse Paintings in the Stephen C. Clark Collection." Art in America 22 (October 1934), pp. 143–44, calls it "Afternoon Sitting".
R[iichiro]. Kawashima. Matisse. Tokyo, 1936, unpaginated, ill. (color).
Alexander Romm. Matisse: A Social Critique. New York, 1947, p. 96, ill., as "Studio at Nice".
Thomas B. Hess. "Matisse: A Life of Color." Art News 47 (April 1948), ill. p. 18, as "Afternoon Sitting".
Morris Davidson. An Approach to Modern Painting. New York, 1948, p. 89, fig. 55, as "Interior".
Giuseppe Marchiori. Matisse. New York, , pl. 71, as "The Afternoon Pose".
Massimo Carrà. L'Opera di Matisse dall rivolta 'fauve' all'intimismo, 1904–1928. Milan, 1971, p. 103, no. 421, ill.
Jack Cowart and Dominique Fourcade. Henri Matisse: The Early Years in Nice, 1916–1930. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1986, p. 318, no. 132, ill. and colorpl. 149, date it early 1924 and identify the models as Henriette and her brother.
Elizabeth Cowling in Elizabeth Cowling and Jennifer Mundy. On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930. Exh. cat., Tate Gallery. London, 1990, pp. 13, 184, no. 119, ill. (color), notes the resemblance of the nude's pose to archaic sculpture and suggests it references "the continuing validity of the classical tradition".
Sophie Monneret. Matisse. Paris, 1994, p. 114, no. 455, ill.
Guy-Patrice and Michel Dauberville. Matisse: Henri Matisse chez Bernheim-Jeune. Paris, 1995, vol. 2, p. 1226, no. 636, ill., call it "La femme peintre et le modèle" and date it 1925; note that it was in the artist's collection in 1925 and photographed by Bernheim-Jeune in July of that year.
John Elderfield. Pleasuring Painting: Matisse's Feminine Representations. New York, 1995, pp. 36, 41, fig. 28, as "The Three O'Clock Session"; calls it a reprise of "Carmelina" (about 1903–4; Museum of Fine Arts, Boston) with Henriette playing the role of the artist; identifies the sculpture "Reclining Nude (I)" in the background.
Kenneth E. Silver in Impressions of the Riviera: Monet, Renoir, Matisse and their Contemporaries. Exh. cat., Portland Museum of Art. Portland, Maine, 1998, pp. 52–53, 78, no. 41, fig. 52 (color).
John H. Cauman. "Matisse and America, 1905–1933." PhD diss., City University of New York, 2000, p. 486.
Pierre Schneider. Matisse. Rev. ed. (English ed., 1984). Paris, 2002, p. 426, as "La Pose de l'après-midi".
Gilbert T. Vincent and Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 197 n. 112.
Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, pp. 273–74, 337, no. 285, fig. 201 (color), notes that it was recently acquired by Clark in 1931.
Carol Vogel. "Two Met Acquisitions." New York Times (December 12, 2008), pp. C33–34, ill. (color).
Rebecca A. Rabinow in "Recent Acquisitions, A Selection: 2008–2010." Metropolitan Museum of Art Bulletin 68 (Fall 2010), pp. 68–69, ill. (color).
Shirley Neilsen Blum. Henri Matisse: Rooms with a View. New York, 2010, pp. 128–29, 187, ill. (color), dates it spring 1924; notes that Matisse gave painting lessons to Henriette, represented here.
Ina Conzen in Mythos Atelier. Von Spitzweg bis Picasso, von Giacometti bis Nauman. Ed. Ina Conzen. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 2012, pp. 17, 61, 63–64, 262, no. 22, ill. p. 80 (color).