Hermann Voss. "François Boucher's Early Development." Burlington Magazine 95 (March 1953), pp. 80, 82, 85, ill., states that the picture was "sold to America by a French private collector in 1952"; dates it to the last stage of Boucher's early development, noting the influence of Abraham Bloemaert, from whom Boucher borrowed the two figures.
Emilio Lavagnino. Il Settecento a Roma. Exh. cat., location unknown. Rome, 1959, pp. 67–68, no. 98, pl. 41, presumes that Boucher painted it upon his return to Paris, from studies executed in Italy; relates it to the art of the bamboccianti.
Pierrette Jean-Richard. "Expositions, Musée du Louvre, Cabinet des Dessins: Boucher, gravures et dessins." Revue du Louvre et des musées de France 21 (1971), pp. 198–99, remarks that the composition is identical to that of a black chalk drawing by Boucher (one of a pair in the Cabinet des dessins, Musée du Louvre, Paris); notes that Boucher copied the shepherds from Bloemaert, and that the related prints are plates 8 and 10 in his "Livre d'Étude" of 1735.
Regina Shoolman Slatkin. "Two Early Drawings by François Boucher." Master Drawings 9 (Winter 1971), pp. 399–401, 403 n. 9, fig. 3, dates the drawings 1732–34; concludes that the two paintings in New York and Stockholm based on these designs were intended as pendants.
Alexandre Ananoff with the collaboration of Daniel Wildenstein. François Boucher. Lausanne, 1976, vol. 1, pp. 228–29, no. 101, fig. 394, as "Vue de Campo Vaccino"; list among related works Boucher drawings at Stockholm, Orléans, and the Bibliothèque Nationale, Paris, and a Natoire drawing of the same site, Campo Vaccino, in 1766.
Regina Shoolman Slatkin. "Abraham Bloemaert and François Boucher: Affinity and Relationship." Master Drawings 14 (Autumn 1976), pp. 248–49, 254, discusses the prints and drawing at Orléans, and notes that every figure of a peasant or shepherd in Boucher's early work is based on a Bloemaert prototype.
Pierrette Jean-Richard. L'Œuvre gravé de François Boucher dans la Collection Edmond de Rothschild. Paris, 1978, p. 72, under no. 182.
Alexandre Ananoff with the collaboration of Daniel Wildenstein. L'opera completa di Boucher. Milan, 1980, pp. 92, 93, no. 101, ill.
Pontus Grate. Letter to Susan Stein. June 3, 1982, believes that in view of the discrepancy in size the Stockholm picture cannot be the pendant to this one.
Katharine Baetjer in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 60–61, ill. (color).
Katharine Baetjer in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 118–20, no. 45, ill. (color).
Alastair Laing in François Boucher, 1703–1770. Exh. cat., The Metropolitan Museum of Art. New York, 1986, pp. 17, 60–61, 112, 132, 150–54, no. 23, ill. (color), as "Capriccio View of the Farnese Gardens"; questions Schreiber's suggestion that the Louvre's upright drawing is after our painting as this would be an unparalleled procedure for the artist; proposes that an upright painting might have formed a pendant to the "View of Tivoli" in Boulogne, but notes that no record of another version exists.
Philip Conisbee in Claude to Corot: The Development of Landscape Painting in France. Exh. cat., Colnaghi. New York, 1990, p. 88, ill.
Marcel G. Roethlisberger. Abraham Bloemaert and His Sons: Paintings and Prints. Doornspijk, The Netherlands, 1993, vol. 1, p. 219, under no. 281.
Alan Wintermute in Stephen D. Borys. The Splendor of Ruins in French Landscape Painting, 1630–1800. Exh. cat., Allen Memorial Art Museum. Oberlin, Ohio, 2005, p. 26, calls it "Capriccio View of the Farnese Gardens".
Old Master & British Paintings: Evening Sale. Christie's, London. December 3, 2013, p. 90, under no. 22.