Beherman, Thierry, 1988, Godfried Schalken, Paris, Maeght.
Berget, Claire, 2012, « Le leurre du “violone” », RSÉAA XVII-XVIII, no 69, p. 139-149.
Brewer, John, 1997, The Pleasures of the Imagination: English Culture in the Eighteenth Century, Londres, Harper Collins.
Burke, Joseph et Caldwell, Colin, 1968, Hogarth: gravures, œuvre complet, trad. P. Peyrelevade, Paris, Arts et métiers graphiques.
Chevalier, Jean (dir.), 1982, Dictionnaire des symboles, mythes, rêves, coutumes gestes, formes, figures, couleurs, nombres, Paris, Laffont.
Cibber, Theophilus, [1756] 1757, Two Dissertations on the Theatre, 2e éd., Londres, Mr Griffiths.
Flanders, Henry (dir.), [1856] 1969, Memoirs of Richard Cumberland Written by himself, New York, Benjamin Blom.
Garrick, David, 1762, The Farmers’ Return from London. An Interlude. As it is Performed at the Theatre Royal in Drury-Lane, Londres, J. and R. Tonson.
Genette, Gérard, 1982, Palimpsestes : la littérature au second degré, Paris, Seuil.
Hill, John, 1750, The Actor: a Treatise on the Art of Playing, Londres, R. Griffiths.
Jonson, Ben, 1791, The Alchymist. A Comedy. As Altered from Ben Jonson. Adapted for Theatrical Representation, as Performed at the Theatre Royal, in Drury-Lane, Londres, John Bell.
Kendall, Alan, 1985, David Garrick: a Biography, Londres, Harrap.
Lammertse, Friso, 1998, Dutch Genre Painting of the Seventeenth Century: Collection of the Museum Boijmans Van Beuningen, Rotterdam, Museum Boijmans Van Beuningen.
Lichtenstein, Jacqueline et Michel, Christian (dir.), [1648-1681] 2006, Conférences de l’Académie royale de peinture et de sculpture, t. I, vol. I, Paris, École nationale supérieure des Beaux-Arts.
Nicoll, Allardyce, 1980, The Garrick Stage: Theatres and Audience in the Eighteenth Century, Manchester, Manchester UP.
Nicolson, Benedict, 1990, Caravaggism in Europe, 2e éd., 3 vol., Turin, Umberto Allemandi.
Pears, Ian, 1988, The Discovery of Painting: the Growth of Interest in the Arts in England 1680-1768, New Haven, Yale UP.
Postle, Martin, 2011, « Johan Zoffany: an Artist Abroad », dans Martin Postle (dir.), Johan Zoffany RA: Society Observed, New Haven, Yale UP, p. 13-49.
— (dir.), 2011, Johan Zoffany RA: Society Observed, New Haven, Yale UP.
Price, Cecil, 1973, Theatre in the Age of Garrick, Oxford, Basil Blackwell.
Retford, Kate, 2006, The Art of Domestic Life: Family Portraiture in Eighteenth-Century England, New Haven, Yale UP.
Russel Brown, John (dir.), 1995, The Oxford Illustrated History of the Theatre, Oxford, Oxford UP.
Shawe-Taylor, Desmond, 2009, The Conversation Piece: Scenes of Fashionable Life, Londres, Royal Collection Enterprise.
Simon, Robin, 2011, « “Strong Impressions of their Art”: Zoffany and the Theatre », dans Martin Postle (dir.), Johan Zoffany RA: Society Observed, New Haven, Yale UP, p. 50-73.
Solkin, David H., 2001, « Crowds and Connoisseurs: Looking at Genre Painting at Somerset House », dans Art on the Line: the Royal Academy Exhibitions at Somerset House 1780-1836, New Haven, Yale UP.
Todorov, Tzvetan, 1993, Éloge du quotidien : essai sur la peinture hollandaise du xviie siècle, Paris, Adam Biro.
Treadwell, Penelope, 2009, Johan Zoffany: Artist and Adventurer, Londres, Paul Holberton.
Vanbrugh, John, 1765, The Provok’d Wife, with a New Scene. Plays, Dublin, J. Exshaw, 2 vol., vol. 1, p. 108-195.
Webster, Mary, 1976, Johan Zoffany 1733-1810, Londres, National Portrait Gallery.
—, 2011, Johan Zoffany 1733-1810, New Haven, Yale UP.
White, Christopher, 1983, « Rembrandt’s Influence on English Painting », dans Rembrandt in Eighteenth Century England, Yale, Yale Center for British arts.
Wilkes, Thomas, 1759, A General View of the Stage, Londres, J. Coote.
Tableaux étudiés
Zoffany, Johan C., 1762, David Garrick and Mary Bradshaw in David Garrick’s’ ‘The Farmer’s Return’, Yale Center for British art, Paul Mellon Collection.
—, 1763, David Garrick as Sir John Brute in ‘The Provok’d Wife’, Wolverhampton Art Gallery.
—, 1770, David Garrick with Edmund Burton and John Palmer in ‘The Alchymist’, Private collection.