Examiner (May 10, 1835), p. 294 [see Ref. Butlin and Joll 1977].
Fraser's Magazine 12, no. 67 (1835), pp. 52–55 [see Ref. Butlin and Joll 1977].
Literary Gazette (May 9, 1835), p. 298 [see Ref. Butlin and Joll 1977].
"Maga". Blackwood's Magazine (August 1835) [see Ref. Monkhouse 1889].
The Observer (May 10, 1835) [see Ref. Butlin and Joll 1977].
Spectator (May 9, 1835), p. 447 [see Ref. Butlin and Joll 1977].
"The Royal Academy." The Times (May 23, 1835), p. 5.
"Visits to Private Galleries." Art-Union 9 (July 1, 1847), p. 253.
John Ruskin. Letter to his father, John Ruskin Sr. September 11, 1851 [see Ref. Cook and Wedderburn 1903–12, vol. 10, 1904], as "Munro's picture"; observes that his lodgings in Venice are "just 'out' of the picture on the left-hand side of it".
John Burnet and Peter Cunningham. Turner and His Works. London, 1852, p. 117, no. 184.
[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 2, p. 141.
Art-Journal (1857) [see sale cat. 1860], as "so much admired, that it occasioned . . . a succession of pictures of this renowned city"; "the vessels in the canal have 'dressed ship,' and are therefore hung with their gayest colours".
John Ruskin. Catalogue of the Turner Sketches in the National Gallery, Part I. 1857 [see Ref. Cook and Wedderburn 1903–12, vol. 13, 1904].
John Ruskin Sr. Letter to Ernest Gambart. April 26, 1860 [see Ref. Maas 1975], proposes finding twenty gentlemen to subscribe with him towards buying it to present to the Louvre, "as Turner is so little known and so little esteemed on the Continent".
John Ruskin. Modern Painters. 5, London, 1860 [see Ref. Cook and Wedderburn 1903–12, vol. 7, 1905].
Walter Thornbury. The Life of J. M. W. Turner, R.A. London, 1862, vol. 1, pp. 232, 326; vol. 2, pp. 380, 399, 406, states that "Turner went to Venice for Mr. Munro, insisting on his travelling expenses being paid," and that Munro commissioned a drawing; Turner returned with this "large ambitious painting, which Mr. Munro never much took to"; notes that Turner "was greatly mortified at seeing Mr. Munro's disappointment, and would not at first sell him the picture, but at last consented".
Paintings, Drawings, Engravings, Sculpture, Carvings, Gold & Silver, Pottery, &c. n.p., 1867, no. 125, as "Venice—The Grand Canal".
John Ruskin. The Ruskin Art Collection at Oxford: Catalogue of the Standard and Reference Series. 1872 [see Ref. Cook and Wedderburn 1903–12, vol. 21, 1906].
John Ruskin. Notes on Mr. Ruskin's Own Handiwork Illustrative of Turner. 1878 [see Ref. Cook and Wedderburn 1903–12, vol. 13, 1904], calls it "a challenge to Canaletto, being nothing else than Turner's adaptation of the great Louvre picture of the 'Church of the Salute'" and observes that Turner "threw his whole strength into the boats and water, which Canaletto could not paint"; states that "there is no better representation of Turner's work by line engraving" than Miller's print.
W. Cosmo Monkhouse. The Turner Gallery: A Series of One Hundred and Twenty Engravings from the Works of the Late J. M. W. Turner, R.A. New York, [1879?], unpaginated, ill. (Brandard engraving).
John Ruskin. Præterita. 1, Sunnyside, Orpington, 1886 [see Ref. Cook and Wedderburn 1903–12, vol. 35, 1908], mentions that he wanted to buy "the engraving of Turner's Grand Canal" for his room wall at Oxford.
Philip Gilbert Hamerton. Les artistes célèbres: Turner. Paris, 1889, p. 81, erroneously as in the National Gallery, London.
Cosmo Monkhouse. Turner. London, 1889, pp. 124–25.
C. F. Bell. A List of the Works Contributed to Public Exhibitions by J. M. W. Turner, R.A. London, 1901, p. 127, no. 196, asserts [in error] that the painting is signed J. M. W. T.
Walter Armstrong. Turner. London, 1902, p. 234.
Robert Chignell. J. M. W. Turner, R.A. London, 1902, p. 197.
Masters in Art: Turner 3 (November 1902), p. 39.
The Works of John Ruskin. London, 1903–12, vol. 7, p. 149 n. 1; vol. 10, p. xxix; vol. 13, p. 213 n. 2, p. 498 n. 1; vol. 21, p. 41 n. 7; vol. 35, p. 256.
W. L. Wyllie. J. M. W. Turner. London, 1905, p. 99.
W. G. Rawlinson. The Engraved Work of J. M. W. Turner, R.A. London, 1913, vol. 2, p. 333.
P[ercy]. M[oore]. Turner. "Pictures of the English School in New York." Burlington Magazine 22 (February 1913), p. 275, pl. IIIE.
Harry Townend. J. M. W. Turner, 1775–1851. London, 1923, pp. 76–77.
A. J. Finberg. In Venice with Turner. London, 1930, pp. 85, 131–32, 155.
C. H. Collins Baker. British Painting. London, 1933, p. 287.
A. J. Finberg. The Life of J. M. W. Turner, R.A. Oxford, 1939, pp. 355, 499, no. 461.
Claus Virch. "'Ye Mists and Exhalations That Now Rise'." Metropolitan Museum of Art Bulletin 20 (April 1962), pp. 253, 256, ill. p. 255.
John Rothenstein and Martin Butlin. Turner. New York, 1964, p. 52.
Graham Reynolds. Turner. New York, 1969, pp. 158, 160.
Jeremy Maas. Gambart: Prince of the Victorian Art World. London, 1975, pp. 114, 301 n. 13.
Martin Butlin and Evelyn Joll. The Paintings of J. M. W. Turner. New Haven, 1977, vol. 1, pp. 193–94, 232, no. 362; vol. 2, pl. 342.
Collected Correspondence of J. M. W. Turner. Oxford, 1980, pp. 272, 282, observes that Munro told Thornbury that he sent Turner to Venice in 1833.
Evelyn Joll in A Dealer's Record: Agnew's, 1967–81. London, 1981, p. 148.
Evelyn Joll in J. M. W. Turner. Exh. cat., Grand Palais. Paris, 1983, pp. 130–31, no. 63, ill.
Martin Butlin and Evelyn Joll. The Paintings of J. M. W. Turner. rev. ed. New Haven, 1984, vol. 1, pp. 212–13, no. 362; vol. 2, pl. 367 (color), note that it was cleaned in 1983.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. London, 1984, p. 231.
Lindsay Stainton. Turner's Venice. New York, 1985, p. 32, observes that "Turner exaggerates the width of the Grand Canal in the foreground and wrongly makes it seem to become narrower towards its entrance".
Eric Shanes. Turner. London, 1990, pp. 106–7, ill. (color), dates it 1835.
Robert Hewison, with Ian Warrell, and Stephen Wildman. Ruskin, Turner, and the Pre-Raphaelites. Exh. cat., Tate Britain. London, 2000, p. 54.
Luke Herrmann in The Oxford Companion to J. M. W. Turner. Oxford, 2001, p. 361.
Evelyn Joll in The Oxford Companion to J. M. W. Turner. Oxford, 2001, p. 187.
Charles Sebag-Montefiore in The Oxford Companion to J. M. W. Turner. Oxford, 2001, p. 194.
Ian Warrell. Turner and Venice. Exh. cat., Tate Britain. London, 2003, pp. 107, 113, 168, 270, no. 39, fig. 109 (color), suggests that of two related watercolors, a study on gray paper datable either to about 1833 or 1840 (fig. 180) "could well be the basis for" the present picture.
Katharine Baetjer. "'Canaletti Painting': On Turner, Canaletto, and Venice." Metropolitan Museum Journal 42 (2007), pp. 165, 172 n. 17, fig. 6, colorpl. 10.
Andrea Fredericksen in J. M. W. Turner. Exh. cat., Washington National Gallery of Art. London, 2007, pp. 151, 258, no. 106, ill. (color).
Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 22, 309, no. 20, ill. (color and black and white).
Ian Warrell in J. M. W. Turner. Exh. cat., Washington National Gallery of Art. London, 2007, p. 129.
Ian Warrell in Venice: From Canaletto and Turner to Monet. Exh. cat., Fondation Beyeler. Basel, 2008, p. 61.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 230–33, no. 113, ill. (color).
David Solkin in Turner and the Masters. Exh. cat., Tate Britain. London, 2009, pp. 200–201, 234, no. 85, ill. (color).