Félicien Fagus. "Quarante tableaux de Cézanne." La revue blanche 20 (December 1899), p. 628, calls it "Maison lézardée".
Julius Meier-Graefe. Cézanne und sein Kreis: Ein Beitrag zur Entwicklungsgeschichte. 3rd ed. [1st ed., 1918]. Munich, 1920, p. 129, ill., calls it "Das geborstene Haus".
"Confiscation de tableaux." Bulletin de la vie artistique 1 (December 15, 1920), p. 750, ill., lists it among a group of ten paintings brought to Paris by the dealer Georg Caspari, but seized by the treasury department for legal reasons.
Georges Rivière. Le Maître Paul Cézanne. Paris, 1923, p. 204, calls it "La maison lézardée et le chemin rural à Auvers" and dates it 1877; erroneously locates it as still in the Rothermundt collection, Dresden.
Kurt Pfister. Cézanne: Gestalt/Werk/Mythos. Potsdam, 1927, fig. 44, dates it about 1880.
Julius Meier-Graefe. Cézanne. London, 1927, pl. XXXVI, calls it "The House with the Cracked Wall" and places it in the Matsukata collection, Kobe, Japan.
Georges Rivière. Cézanne: le peintre solitaire. Paris, 1933, p. 109, ill. between pp. 56 and 63, dates it 1877 and states that it was painted in Auvers; erroneously locates it as still in the Rothermundt collection.
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, pp. 64, 206, no. 657; vol. 2, pl. 211, no. 657, dates it 1892–94; remarks that Cézanne's landscapes of this period become more dramatic and "tormented".
Edgar C. Schenck. "Girl with Her Doll." Honolulu Academy of Arts Bulletin 5 (March 1937), p. 8, fig. 5.
Raymond Cogniat. Cézanne. Paris, 1939, pl. 95, dates it 1892–94 and erroneously locates it as still in the Matsukata collection.
Bernard Dorival. Cézanne. [English ed., 1948]. Paris, 1948, pp. 80, 138, 169, pl. 140, dates it about 1896.
Gotthard Jedlicka. Cézanne. Bern, 1948, fig. 42, dates it 1892–94 and erroneously locates it as still in the Matsukata collection.
Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, pp. 100, 110.
"Fifty Years for Wildenstein." Art News 50 (November 1951), ill. p. 27, dates it about 1892 and states that Cézanne painted it "in the isolation of Aix".
Meyer Schapiro. Paul Cézanne. 1st ed. New York, 1952, pp. 106–7, ill. (color), dates it 1892–94; calls it a "romantic picture" and discusses how the structure of the composition creates "an effect of intimacy and strain, of restlessness and quiet"; notes that the black cracks of the wall find their counterpart in the tree trunks of the background, the path on the ground, and the markings of the rocks.
Theodore Rousseau Jr. Paul Cézanne (1839–1906). New York, 1953, unpaginated, colorpl. 23, notes that its dramatic effect is produced by an anecdotal detail, the dark crack, rather than by the general treatment of color and forms.
Introduction by Alfred H. Barr Jr. "Paintings from Private Collections." Museum of Modern Art Bulletin 22 (Summer 1955), pp. 11, 30, no. 22, ill. (installation photo).
John Rewald. Cézanne, Landscapes. [French ed., Paris, 1958]. New York, 1958, unpaginated, colorpl. 10.
Ralph T. Coe. "Impressionist and Post-Impressionist Paintings in Washington." Burlington Magazine 101 (June 1959), p. 242.
Frank Elgar. Cézanne. New York, , pp. 189, 280, fig. 111, dates it about 1896 and comments that the cracked house "displays its wounds, much as the faces of the peasants show theirs".
Jack Lindsay. Cézanne: His Life and Art. Greenwich, Conn., 1969, fig. 68.
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 116–17, no. 686, ill.
Marcel Brion. Paul Cézanne. Milan, 1972, ill. p. 79.
Meyer Schapiro. P. Cézanne. Paris, 1973, unpaginated, colorpl. .34.
John Rewald. "Some Entries for a New Catalogue Raisonné of Cézanne's Paintings." Gazette des beaux-arts, 6th ser., 86 (November 1975), p. 167, tentatively states that Auguste Pellerin traded it to Bernheim-Jeune in February 1911 with "Réunion des femmes nues" (possibly V386, R362; Barnes Foundation, Merion, Penn.), Monet's "Le jardin," and cash; in exchange he received "L'Estaque, effet de neige," (V51, R157; private collection, Switzerland).
Theodore Reff in Cézanne: The Late Work. Exh. cat., Museum of Modern Art. New York, 1977, pp. 24–25, ill., calls it an image of imminent destruction with a romantic theme, possibly related to the climactic scene in Poe's "The Fall of the House of Usher".
Matthias Arnold. "Cézanne und van Gogh—Die beiden großen Postimpressionisten: Ein Vergleich II." Weltkunst 56 (January 15, 1986), p. 133, fig. 42 (color), compares it to van Gogh's "Farmhouse in Auvers" (1890, Rijksmuseum Vincent van Gogh, Amsterdam).
Colin B. Bailey. "La Collection Annenberg." L'Oeil nos. 408–9 (July–August 1989), p. 45, fig. 11, comments that the window resembles the empty eye socket of a skull; believes it represents a house in the vicinity of the abandoned quarry of Bibémus.
Jack Flam. "In a Different Light." Art News 88 (Summer 1989), pp. 116–17, ill. (color).
Chuji Ikegami in The Old Matsukata Collection. Exh. cat., Kobe City Museum. Kobe, 1989, p. 121, lists it as one of the four paintings by Cézanne that Matsukata exported from Japan to the United States after World War II.
Yukio Yashiro in The Old Matsukata Collection. Exh. cat., Kobe City Museum. Kobe, 1989, p. 145, recalls that this painting was used by Matsukata as collateral for ¥30,000.
The Old Matsukata Collection: Occidental Art. Exh. cat., Kobe City Museum. Kobe, 1990, p. 103, no. 371, ill., identifies it in Exhs. Osaka 1922 and Tokyo 1930.
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 80–81, 182–84, ill. (color and black and white), compares it to "House of the Hanged Man" (Musée d'Orsay, Paris; R202) and "Millstone in the Park of the Château Noir" (Philadelphia Museum of Art; R763).
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 39.
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), p. 69.
Richard Verdi. Cézanne. London, 1992, p. 150, fig. 129, describes it as one of the landscapes of the early 1890s which "appear more romantic in mood and theme and anticipate the greater emotionalism of the artist's final years".
Gary Tinterow. "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), p. 49, ill. (color), dates it 1894 and comments on its sense of disintegration and desolation.
Walter Feilchenfeldt in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 577 [French ed., Paris, 1995].
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 341, 462–63, 562, 564, 571, no. 760; vol. 2, p. 261, fig. 760, calls it "La maison lézardée" and dates it 1892–94.
Henri Loyrette in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 139 [French ed., Paris, 1995], discusses "The House of the Hanged Man" (Orsay; R202) as the precursor of this picture and others of abandoned habitations with cracked walls.
Yoko Fukumitsu et al. in Captivated by Western Art: Fifteen Japanese Collectors, 1890–1940. Exh. cat., Bridgestone Museum of Art. Tokyo, 1997, pp. 55, 63–64, fig. WK-7, confirms its inclusion in Exh. Tokyo 1930 and states that it was acquired by Wada in 1930.
Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 149.
Furuta Hirotoshi in Cézanne and Japan. Exh. cat., Yokohama Museum of Art. Tokyo, 1999, pp. 44, 219–20, fig. 1, includes it among a group of works "first shown in Japan at the 'Matsukata Collection European Painting Exhibition' held at the Tokyo Metropolitan Art Museum in February 1934, where they were put up for sale" [but see Refs. Kobe 1990 and Fukumitsu et al. 1997].
Chiao-Mei Liu Université de Paris. Cézanne: La série de Château Noir. Villeneuve d'Ascq, 2001, pp. 70–71.
Nina Maria Athanassoglou-Kallmyer. Cézanne and Provence: The Painter in His Culture. Chicago, 2003, pp. 132, 137, fig. 3.37 (color), comments that this painting suggests "death, even murderous, violent death" and calls the house a "desiccated architectural corpse".
Philip Conisbee in Philip Conisbee and Denis Coutagne. Cézanne in Provence. Exh. cat., National Gallery of Art. Washington, 2006, p. 198, locates this house at either Le Tholonet or L'Estaque.
Heike Biedermann in Von Monet bis Mondrian: Meisterwerke der Moderne aus Dresdner Privatsammlungen der ersten Hälfte des 20.Jahrhunderts. Exh. cat., Galerie Neue Meister, Staatliche Kunstsammlungen Dresden. Munich, 2006, p. 57, fig. 20 (color).
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 152–56, no. 29, ill. (color).