(Count Alessandro Contini-Bonacossi, Rome), by 1928; purchased 1930 by the Samuel H. Kress Foundation, New York; gift 1939 to NGA.
- Il seicento italiano, Palazzo delle Biennale, Venice, 1929, no. 3, repro.
- Mostra del settecento bolognese, Palazzo Comunale, Bologna, 1935, no. 39, repro.
- The Twentieth Anniversary Exhibition of the Cleveland Museum of Art. The Official Art Exhibit of the Great Lakes Exposition, Cleveland Museum of Art, 1936, no. 152, pl. 39.
- Venetian Painting of the XVIIIth Century, M. Knoedler and Company, New York, 1936, no. 7.
- Tiepolo and His Contemporaries, The Metropolitan Museum of Art, New York, 1938, no. 4, repro., as Diana and Her Nymphs Resting.
- Dutch and Italian Masterpieces from the Samul H. Kress Collection, Dayton Art Institute, 1939-1940, no cat.
- Masterworks of Five Centuries, Golden Gate International Exhibition, San Francisco, 1939, no. 28, repro.
- Lasareff, Victor. "Studies on Giuseppe Maria Crespi." Art in America 17 (1929): 17, fig. 3.
- Arslan, Wart. "Appunti su Magnasco, Sebastiano e Marco Ricci." Bollettino d'Arte 26 (1932): 210.
- Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 48, no. 173.
- Book of Illustrations. National Gallery of Art, Washington, 1942: 242, repro. 91.
- Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 58, repro., as Cupids with Sleeping Nymphs.
- Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 138, repro.
- Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 234, repro.
- Matteucci, Anna. Giuseppe Maria Crespi. (I maestri del colore 92.) Milan, 1965: no. 5, color pl. 5.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 34..
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 27, repro.
- Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 102-103, fig. 190.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 86, repro.
- Liebmann, Michael. Giuseppe Maria Crespi. Dresden, 1976: 20-21, fig. 5 (revised translation of Russian edition, 1965).
- Merriman, Mira Pajes. "Giuseppe Maria Crespi's 'Jupiter among the Corybantes." The Burlington Magazine 118 (1976): 468, no. 12.
- Roli, Renato. Pittura bolognese 1650-1800. Dal Cignani ai Gandolfi. Bologna, 1977: 106, 251, fig. 159b.
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: I:144-146, II:pl. 102.
- Merriman, Mira Pajes. Giuseppe Maria Crespi. Milan, 1980: 80; 82-86; 99-100; 282, no. 172; fig. 172.
- Puglisi, Catherine Rose. "A Study of the Bolognese-Roman Painter Francesco Albani." Ph.D. dissertation, Institute of Fine Arts, New York, 1983: 125, fig. 44.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 106, repro.
- Spike, John. Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Exh. cat. Kimbell Art Museum, Fort Worth, 1986: 18, 123, fig. 7.1.
- Giordano Viroli in Giuseppe Maria Crespi 1665-1747. Exh. cat. Pinacoteca Nazionale, Bologna; Staatsgalerie Stuttgart. Bologna and Stuttgart, 1990: 42, 65, 192.
- De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 67-71, repro. 69.
The support is a hammered copper sheet 0.01 cm thick. It is mounted on a plywood panel with metal edge strips. Its surface was prepared with a layer of opaque green paint with large particles of white, perhaps applied over an initial priming layer. Before it was completely dry, palm or thumb prints were pressed into the green layer to produce a texture that is also apparent in the subsequent paint layers. The green ground serves as a middle tone that constitutes the lighter horizon level in the sky and serves as the basis for the darker areas. The paint is applied wet-in-wet in thin, opaque layers with semitransparent glazes in the sky, leaves, and shadowed drapery folds. Semitranslucent glazes were used for the facial details, which are not sharply delineated and thus produce a slightly blurred, sfumato effect. While there is no high impasto, drapery folds and other details are applied in thick, pastose paint more textured by the brush.
There are small scattered losses along the lower edge. Minor abrasion has occurred along the remaining edges and in the sky. Discolored varnish was removed and the painting was restored in 1931 by Stephen Pichetto. The varnish is now slightly discolored.