Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 56.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 158–59, ill.
Stephen Gwynn. Claude Monet and His Garden: The Story of an Artist's Paradise. New York, 1934, p. 168.
Oscar Reuterswärd. Monet. Stockholm, 1948, p. 282.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, p. 138, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 295, 304–5, fig. 16, as "The Thaw"; compares it unfavorably with Monet's earlier scenes of ice floes from 1879–81.
Sabine Cotté. Monet. Paris, 1974, p. 46, fig. 16 (color).
René Huyghe Lydie Huyghe in La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, fig. 106, as "La débâcle".
Marion Grayson. "Monet's Houses of Parliament: Toward nostalgia and a new reality." Pharos 16 (May 1979), pp. 8–9, fig. 4.
Daniel Wildenstein. "1887–1898: Peintures." Claude Monet: Biographie et catalogue raisonné. 3, Paris, 1979, pp. 49, 160–61, no. 1335, ill., tentatively identifies it with the "Glaçons" mentioned by Monet in several letters of 1896–97 [see pp. 292–93, nos. 1354–55, 1357, 1361, 1364].
Daniel Wildenstein. "1882–1886: Peintures." Claude Monet: Biographie et catalogue raisonné. 2, Lausanne, 1979, p. 294, pièce justificative no. 95, tentatively identifies the MMA work with "Glaçons à Vétheuil" mentioned in this letter [see Ref. Wildenstein, III, 1979, p. 160].
Jacqueline Guillaud and Maurice Guillaud. Claude Monet au temps de Giverny. Exh. cat., Centre Culturel du Marais. Paris, 1983, p. 309, fig. 51 (color).
René Huyghe. "Monet précurseur." Aspects of Monet. New York, 1984, p. 250, fig. 96.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 142–43, 252, ill. (color).
John House. Monet: Nature into Art. New Haven, 1986, pp. 27, 57, 65, 69, 100, 128, 173–74, colorpl. 213.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 257.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 221.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 33.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 365–66, no. A408, ill.
Steven Z. Levine. Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. Chicago, 1994, pp. 170–71, fig. 86, discusses the provenance of this work and Monet's paintings of ice floes as the pursuit of "an inexpressible absolute".
Daniel Wildenstein. Monet or the Triumph of Impressionism. 1, 2nd ed. Cologne, 1996, p. 288.
Daniel Wildenstein. "Catalogue raisonné–Werkverzeichnis: Nos. 969–1595." Monet. 3, 2nd ed. Cologne, 1996, pp. 542–43, no. 1335, ill. (color).
Caroline Durand-Ruel. "Quand les Havemeyers aimaient la peinture française." Connaissance des arts no. 544 (November 1997), p. 108, mistakenly assigns it to the 1880 "Débâcle" series.
Katherine Rothkopf in Impressionists in Winter: Effets de neige. Exh. cat., Phillips Collection. Washington, 1998, pp. 54, 126–27, 211–12, no. 27, ill. (color), remarks that this painting is one of Monet's numerous "effet de neige" pictures that are purely landscape, in contrast to the human elements included in Pissarro's snowscapes; states that this is one of thirteen views of ice floes by Monet and notes similarities between these works and his later views of Mount Kolsaas, Norway, from 1895; discusses the climatic conditions during two weeks in January 1893, when ice floes, caused by freezing and thawing on the Seine, prompted Monet to work outdoors in "rather frigid conditions"; remarks that all thirteen were painted on the Bennecourt bank of the river, across from Giverny, and that the MMA canvas is one of nine examples that face towards the hills on the left bank; compares it with two other similar compositions from the same series: "Floating Ice at Bennecourt" (Waterhouse Collection) and "Morning Haze" (Philadelphia Museum of Art), all of which include the islet of Forée at the center.
Karin Sagner-Düchting in Monet and Modernism. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2001, pp. 40–41, ill. p. 45 (color).
Kathryn Calley Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 143, 284, no. 132, ill. (color and black and white).
Kathryn Calley Galitz in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 127, 241, no. 91, ill. (color and black and white).
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 84.