Arsène Houssaye. "Le Salon de 1843." Revue de Paris 16 (April 1843), p. 35, calls it "L'Incendie de Sodome" and notes with regret that it was rejected by the jury of the 1843 Salon.
Louis Peisse. "Le Salon de 1843." Revue des deux mondes, n.s., 2 (April 15, 1843), p. 283.
Alphonse Karr. "Exposition des tableaux." Les Guêpes 11 (April 1843), p. 28 [excerpt reprinted in Ref. Robaut 1905, vol. 4, p. 359], calls it "Incendie de Sodome" and notes that it was refused by the Salon jury after Corot worked on it for an entire year; quotes a jury member's remark: "vous dites que nous l'avons refusé,—c'est possible—mais pourquoi faire un incendie quand on fait si gris?".
"Salon de 1843." L'Artiste, 3rd ser., 3 (1843), p. 178.
"Salon de 1843." Les Beaux-arts 1 (1843), p. 25.
"Le Salon." L'Artiste, 3rd ser., 5 (April 28, 1844), p. 258, states that "je ne comprendrai jamais son 'Incendie de Sodôme'".
A. A. "Salon de 1844." Les Beaux-arts 3 (1844), pp. 2–3, calls it prosaic and poorly painted.
"Salon de 1844." L'Illustration 3 (March 16, 1844), p. 56, ill. (wood engraving of the original state), praises this picture's inclusion in the 1844 Salon.
[Étienne-Joseph-]T[héophile]. Thoré. Le Salon de 1844. Paris, 1844, pp. 30, 32–33, finds Corot's three landscapes to be among the best in the Salon, but criticizes this work's lack of detailed handling.
"Diderot au Salon de 1844." La Chronique: Revue universelle, 3rd ser., 5 (1844), pp. 104–5 [excerpt reprinted in Ref. Robaut 1905, vol. 4, p. 360].
Désiré Laverdant. La Démocratie pacifique (May 16, 1844) [excerpt reprinted in Ref. Robaut 1905, vol. 4, p. 359].
Théophile Silvestre. Histoire des artistes vivants: Français et étrangers. Paris, 1856, pp. 102–4, calls the general execution of this picture energetic but clumsy.
Camille Corot. Letter to Édouard Brandon. March 31, 1857 [excerpt published in Ref. Moreau-Nélaton 1924, vol. 1, p. 108, fig. 138], reports that he will submit five works to the Salon of that year and sketches them on the verso of the letter, including this work in its second state.
A. J. du Pays. "Salon de 1857." L'Illustration 30 (September 26, 1857), pp. 202–3, criticizes its "tons sales".
Charles Perrier. L'Art français au Salon de 1857. Paris, 1857, p. 138, describes this picture as detestable.
Bertall. "Le Salon de 1857 dépeint et dessiné par Bertall." Le Journal amusant (September 19, 1857), ill. p. 1 (caricature).
Paul Mantz. "Artistes contemporains: Corot." Gazette des beaux-arts 11 (November 1, 1861), pp. 427–28, praises the color and dramatic power of both states of this picture, although discussing them as separate canvases.
Victor Frond. "Corot." Panthéon des illustrations françaises au XIXe siècle, comprenant un portrait, une biographie et un autographe. Paris, 1865, p. 2 [see Ref. Pantazzi 1996].
Camille Corot. Letter [to Durand-Ruel]. Sunday, June 20,  [reproduced in "Künstler-Autographen von 1850 bis 1950," Gutekunst & Klipstein, May 14, 1958, no. 15, as undated], apologizes that this painting has not yet been delivered, adding that it depicts the destruction of Sodom [see Pantazzi 1996 and Notes].
Armand Silvestre. Galerie Durand-Ruel, recueil d'estampes, gravées à l'eau-forte. Paris, 1873, pl. LXXIV (engraving by Laguillermie).
Henri Dumesnil. Corot: Souvenirs intimes. Paris, 1875, pp. 46, 125, 127, calls it "L'Incendie de Sodome".
Jules Claretie. Peintres et sculpteurs contemporains. Paris, 1882, vol. 1, p. 103 n. 1, p. 112, quotes Corot's complaint that the picture was poorly hung in the 1857 Salon and his assertion that he would save it first in the event of a fire.
Eugène Montrosier. Les Artistes modernes. Vol. 3, Les Peintres d'histoire, paysagistes, portraitistes et sculpteurs. Paris, 1882, pp. 105–6, 111.
Paul Cornu. Corot. Paris, 1889, p. 84, ill. p. 87 (sketch of the second state) [see Ref. Corot 1857].
Montezuma [Montague Marks]. "My Notebook." Art Amateur 21 (September 1889), p. 67, states that Durand-Ruel purchased it for Fr 120,000 [see Provenance].
Montezuma [Montague Marks]. "My Notebook." Art Amateur 21 (November 1889), p. 114, notes that it has recently been sold to Havemeyer and provides erroneous information regarding past sale dates and prices; relates that Corot originally sold it to a friend who reneged on the deal until finally purchasing it twenty years later following the artist's alterations.
L[éon]. Roger-Milès. Les artistes célèbres. Vol. 32, Corot. Paris, , pp. 38, 48, 50, 83, describes it as expressive but not without faults.
A. Larthe-Ménager. "Corot (1796–1875)." Les Contemporains 3 (October 7, 1894), p. 14.
L[éon]. Roger-Milès. Album classique des chefs-d'œuvre de Corot. Paris, 1895, p. 38, ill., erroneously locates it as still in the collection of Durand-Ruel.
David Croal Thomson. The Barbizon School of Painters: Corot, Rousseau, Diaz, Millet, Daubigny, etc. London, 1902, pp. 40, 66, ill. opp. p. 46, calls it "L'Incendie de Sodome" or "Lot and his Daughters"; provides erroneous prices for 1868 and 1873 sales.
Gustave Geffroy in "Jean-Baptiste Camille Corot." Corot and Millet. Ed. Charles Holme. New York, 1903, pp. cxvi–cxvii, cxx–cxxi, asserts that Corot found the subject in Brittany; notes that he reduced the height of the canvas by fifty centimeters for the Salon of 1857.
Ethel Birnstingl and Alice Pollard. Corot. London, 1904, pp. 106, 164, 167, 178.
Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 2, pp. 108, 168–69, 178, 344–45, no. 460 (first state) and no. 1097 (final state), ill.; vol. 4, pp. 168–69, 177, 276, 358–60, 366, proposes that the original composition was derived from two studies, "Volterra–Route descendant de la ville" (1834; R305; location unknown) and "Mur (Côtes-du-Nord)–une fontaine" (about 1840–43; R476; private collection); states that although the painted sketch (R460bis; MMA 1984.75) is not identical to the first version, it is close enough to provide "un document intéressant"; reproduces the wood engraving of the original state [see Ref. L'Illustration 1844]; describes the reduction of the canvas at the top and side and the repainting of the landscape and figures, characterizing the present painting as "un nouveau tableau peint sur l'ancien".
Maurice Hamel. Corot et son œuvre. Paris, 1905, vol. 1, pp. 22, 28, pl. 23, mistakenly calls it a replica of the earlier version.
Julius Meier-Graefe. Corot und Courbet: Ein Beitrag zur Entwicklungsgeschichte der Modernen Malerei. Leipzig, 1905, pp. 49–50, 64 [English translation published in Ref. Meier-Graefe 1908; reprinted in Ref. Meier-Graefe 1913], notes the influence of Delacroix on the final composition.
Émile Michel. Les artistes célèbres. Vol. 57, Corot. Paris, , p. 30.
Alfred Robaut. Documents sur Corot. [about 1905], vol. 3, pp. 18, 41 [Bibliothèque Nationale de France, Cabinet des Estampes, Paris], describes Corot reworking this canvas in 1855 or 1856 and lists the various states, noting that a "1er état inconnu fut en hauteur" (unidentified), giving a state later than the present work as "4 le même l'ange refait (moins bien)" (unidentified), and including a copy after the present work by Desbrosses (location unknown).
Étienne Moreau-Nélaton in Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 1, pp. 101, 104, 106, 170, ill. p. 169 (sketch) [reprinted in Ref. Moreau-Nélaton 1924], comments that its setting was inspired by [the Italian town of] Volterra; describes the altered state as barely recognizable compared to the original.
Julius Meier-Graefe. Modern Art, Being a Contribution to a New System of Aesthetics. London, 1908, vol. 1, pp. 173, 178.
Loys Delteil. Le peintre-graveur illustré (XIX et XX siècles). Vol. 5, Corot. Paris, 1910, unpaginated.
Étienne Moreau-Nélaton. Corot. Paris, 1913, p. 59.
Julius Meier-Graefe. Camille Corot. 3rd ed. Munich, 1913, pp. 54–55, 77, ill., mistakenly gives the Louvre as the owner of the picture.
August F. Jaccaci. "Figure Pieces of Corot in America: I." Art in America 1 (April 1913), p. 77.
Étienne Moreau-Nélaton. Corot raconté par lui-même. 2nd rev. ed. (1st ed., 1905). Paris, 1924, vol. 1, pp. 55–56, 58–59, 108, fig. 138 (sketch) and fig. 140.
Arsène Alexandre. "La Collection Havemeyer: Courbet et Corot." La Renaissance 12 (June 1929), p. 281, ill., calls it "Fuite de Loth" in the text and "L'Incendie de Sodome" in the caption.
François Fosca. Corot, 1796–1875. Paris, 1930, p. 53, pl. 31, states that violent dramatic subjects like this one are rare in Corot's oeuvre.
C. Bernheim de Villers. Corot: Peintre de figures. Paris, 1930, p. 32, no. 173, ill.
Charles Chassé. "Corot en Bretagne." L'Art et les artistes 20 (July 1930), pp. 334–35, discusses its derivation from the study of the fountain of Sainte Marguerite [which he incorrectly calls Sainte Suzanne; see Ref. Toussaint 1975] in Mur-de-Bretagne (R476; private collection).
Julius Meier-Graefe. Corot. Berlin, 1930, pp. 54, 75–76, discusses Corot's modifications to the initial canvas.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), pp. 470–71, ill. p. 488, calls it "Lot and His Family Fleeing from Sodom"; notes the influence of Poussin and Bertin landscapes in this picture, describing it as the early work "of a talent that has not yet found itself".
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 72–73, ill., calls it "Destruction of Sodom" and dates it 1857.
Lionello Venturi. Les Archives de l'impressionnisme. Paris, 1939, vol. 1, p. 19; vol. 2, p. 185, publishes Paul Durand-Ruel's account of the ownership of the picture [see Notes].
Walter Pach. "The Past Lives On." American Artist 12 (October 1948), p. 29, ill. (detail), cites it as an example of Corot's "debt to the classic ideal".
Daniel Baud-Bovy. Corot. Geneva, 1957, pp. 38, 86, 187, 210–12, 230–31, pl. XLII, states that Silvestre's [Ref. 1856] criticism of the original version caused Corot to modify the picture; proposes that the artist used the study of Volterra (R305) for the first version but employed the study of Mur-de-Bretagne (R476) for the second.
François Fosca. Corot, sa vie et son oeuvre. Brussels, 1958, pp. 24, 32, 146, 190, comments that this is one of the few of Corot's historical landscapes in which the figures play an important role.
André Coquis. Corot et la critique contemporaine. Paris, 1959, pp. 34–36, 72, 77, 80.
Robert L. Herbert. Barbizon Revisited. Exh. cat., California Palace of the Legion of Honor, San Francisco. Boston, 1962, pp. 29, 48, 53, 87–88, no. 9, ill. p. 96, discusses this work as an example of Corot's allegiance to "the older Romantic generation" in his Salon pictures.
A. Tabarant. La Vie artistique au temps de Baudelaire. 2nd ed. (1st ed. 1942). [Paris], 1963, pp. 61, 71, 242.
Cecil Gould. Corot. Exh. cat., Edinburgh International Festival. London, 1965, unpaginated, under no. 25, no. 75, pl. 35, notes that it recalls the styles of Diaz and Millet.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 52–54, ill., state that Corot "himself was displeased with" the first state of this picture.
Germain Bazin. Corot. 3rd rev. ed. (1st ed., 1942; 2nd ed., 1951). Paris, 1973, pp. 47, 265, 268–69, interprets the revision of this picture as a conscious effort to develop a new mode of romantic work from a classical composition.
Pierre Miquel. Le Paysage français au XIXe siècle. Vol. 2, 1824–1874. Maurs-la-jolie, 1975, pp. 27, 38–39, reprints Salon criticism.
Hélène Toussaint in Hommage à Corot: Peintures et dessins des collections françaises. Exh. cat., Orangerie des Tuileries. Paris, 1975, pp. 48, 112, 181–82, mentions two paintings of the fountain of Sainte Marguerite in Mur-de-Bretagne as studies for this picture, dating both about 1840 (R685, Philadelphia Museum of Art and R476, private collection) [see Ref. Pantazzi 1996].
Lydie Huyghe in René Huyghe. La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme. Paris, 1976, p. 438.
Denise Delouche. Peintres de la Bretagne: Découverte d'une province. [Paris], 1977, pp. 266–67, 292 n. 302, ill.
Sarah Symmons. Daumier. London, 1979, pp. 12–13, 94, fig. 9, suggests that it may have had a "profound effect" on Daumier's paintings of fugitives.
Frances Weitzenhoffer. "The Creation of the Havemeyer Collection, 1875–1900." PhD diss., City University of New York, 1982, pp. 112, 115, 132, 188, fig. 20.
William Hauptman. "Juries, Protests, and Counter-Exhibitions before 1850." Art Bulletin 67 (March 1985), pp. 103, 106.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 60, 66, 89, 255, pl. 18, ill. p. 74 (installation photograph).
John Ingamells. The Wallace Collection: Catalogue of Pictures. Vol. 2, French Nineteenth Century. London, 1986, p. 46.
Fronia E. Wissman. "Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design." PhD diss., Yale University, 1989, vol. 1, pp. 88–92, 173, 203, no. 81; vol. 2, fig. 39, observes that after the canvas was reduced in size, the figures became more prominent, causing the image to be read as a history painting rather than as a landscape.
Peter Galassi. Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition. New Haven, 1991, pp. 60, 235 n. 76, discusses Michallon's influence on Corot, calling the first version of this picture an example of Corot's "deep attachment to the tradition of heroic landscape".
Josine M. Eikelenboom Smits. "The Architectural Landscapes of Jean-Baptiste-Camille Corot." PhD diss., Stanford University, 1991, vol. 1, pp. 268–70; vol. 2, fig. 250 (wood engraving), discusses the generalization of Volterra's city walls into a compositional device in this picture, commenting that Corot used architecture in "his invented landscapes only as a token of human culture"; erroneously lists its catalogue raisonné number as R1857.
Michael Clarke. Corot and the Art of Landscape. London, 1991, pp. 67, 69, fig. 74.
Fronia E. Wissman in Kermit S. Champa. The Rise of Landscape Painting in France: Corot to Monet. Exh. cat., Currier Gallery of Art. Manchester, N.H., 1991, p. 76 n. 14.
Jean Leymarie. Corot. 3rd ed. (1st ed., 1966). [Geneva], 1992, pp. 114–15, ill. [English ed., 1979].
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 209, 215, notes that the Havemeyers purchased it from Durand-Ruel on August 1, 1889.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 21, colorpl. 14, notes that the Havemeyers, unlike other American collectors, preferred Corot's figure paintings, such as this one.
Alice Cooney Frelinghuysen. Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, fig. 34 (installation photograph).
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 307, no. A100, ill.
Iain Gale. Corot. London, 1994, pp. 26–27, 36, 39, cites the influence of Poussin's "Orpheus and Eurydice" (Musée du Louvre, Paris) and "Flight into Egypt" (location unknown) on the first version of this picture; considers the more dramatic reworking of the canvas similar to Delacroix.
Gary Tinterow and Polly Sartori. "The Corot Interview." Barbizon, Realist and French Landscape Paintings. Christie's, New York. May 22, 1996, p. 14, mention it as an example of Corot's deliberate shift in his later figure paintings to a "more romantic mood" and "new golden-brown, Rembrandtesque color harmony".
Vincent Pomarède in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. 127 n. 1 [French ed., "Corot 1796–1875," Paris, 1996, p. 178 n. 1].
Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 141, 145, 147, 250, 253–55, 400, 412, 415, no. 114, ill. (color) [French ed., "Corot 1796–1875," Paris, 1996, pp. 23, 28, 195, 198–200, 312, 316–17, 466, no. 114, ill. pp. 199, 317 (color, overall and detail)], cites an 1843 drawing (Musée du Louvre, Paris), the 1844 engraving, and the oil sketch (MMA 1984.75) as indications of the original composition; suggests that Corot decided to alter the painting in 1856, probably because of his increasing interest in the human figure rather than as a response to criticism; states that Durand-Ruel purchased it in 1869, based on Corot 1869 [see Notes].
Gary Tinterow in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 340, 354 [French ed., "Corot 1796–1875," Paris, 1996, pp. 402, 414].
François Fossier et al. "Corot." Connaissance des arts [special exhibition issue for "Corot, 1796–1875"] (1996), pp. 28, 54, fig. 48 (color).
Christine Peltre. "Camille Corot." Beaux arts [special exhibition issue for "Corot 1796–1875"] (1996), p. 46, fig. 4 (color).
Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 17, 43, 104, no. 9, ill. p. 41 (color).
Marcia Kay Stein. "Orphée, Eurydice et la vie contemporaine." Corot, un artiste et son temps. Paris, 1998, p. 291, fig. 15.
Vincent Pomarède. "Le Souvenir recomposé. Réflexions autour du thème du "souvenir" dans l'œuvre de Corot." Corot, un artiste et son temps. Paris, 1998, pp. 434–35.
Vincent Pomarède in Corot: Naturaleza, Emoción, Recuerdo. Ed. Vincent Pomarède. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 43, 275, 308, 312, 338, 390, 400, 402, fig. 8.2 (color).
Gary Tinterow 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. 28–29, 194, no. 10, ill. (color and black and white), notes that Corot based the figures in this picture on those from similar scenes by Raphael (Vatican) and Veronese (Musée du Louvre, Paris).
Vincent Pomarède in Corot e l'arte moderna. Souvenirs et Impressions. Exh. cat., Palazzo della Gran Guardia, Verona. Venice, 2009, p. 53.
Vincent Pomarède in The Secret Armoire: Corot's Figure Paintings and the World of Reading. Ed. Mariantonia Reinhard-Felice. Exh. cat., Collection Oskar Reinhart "Am Römerholz," Winterthur. Munich, 2011, p. 171 [German ed., "Corot. L'Armoire secrète: Eine Lesende im Kontext," Munich, 2011].
Oskar Bätschmann in The Secret Armoire: Corot's Figure Paintings and the World of Reading. Ed. Mariantonia Reinhard-Felice. Exh. cat., Collection Oskar Reinhart "Am Römerholz," Winterthur. Munich, 2011, p. 52 n. 37 [German ed., "Corot. L'Armoire secrète: Eine Lesende im Kontext," Munich, 2011].
Margret Stuffmann in Camille Corot: Natur und Traum. Exh. cat., Staatliche Kunsthalle Karlsruhe. Heidelberg, 2012, pp. 188, 468, no. 101, ill. p. 196 (color).
Dorit Schäfer in Camille Corot: Natur und Traum. Exh. cat., Staatliche Kunsthalle Karlsruhe. Heidelberg, 2012, p. 249.
Simon Kelly in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, pp. 63, 274 n. 20 [French ed., "Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, pp. 50, 217 n. 20], citing Durand-Ruel stock 1868-1873, no. 1202, states that Durand-Ruel bought it from Corot in March 1872 and sold it the same month for Fr 18,000 to Camondo.