Harry B. Wehle. "A Landscape by Paul Gauguin." Metropolitan Museum of Art Bulletin 35 (March 1940), pp. 56–57, ill., ascribes it to Gauguin, noting that it is the first painting by him to enter the museum's collection; reads the date as "91".
Virginia N. Whitehill. Stepping-Stones in French Nineteenth-Century Painting. New York, 1941, p. 40, fig. 16, ascribes it to Gauguin.
Maurice Malingue. Gauguin: le peintre et son oeuvre. Paris, 1948, unpaginated, no. 175, ill., dates it 1892.
Lee van Dovski [Herbert Lewandowski]. Paul Gauguin oder die Flucht vor der Zivilisation. Delphi, 1950, p. 348, no. 259.
Paul Gauguin. Carnet de Tahiti. facsimile of Gauguin's Carnet de Tahiti. Paris, 1954, vol. 1, pp. 12, 23–24, discusses this painting in relation to two preparatory drawings (vol. 2, pp. 39R and 63R).
Claus Virch and Samuel J. Wagstaff Jr. in Gauguin: Paintings, Drawings, Prints, Sculpture. Exh. cat., Art Institute of Chicago. Chicago, 1959, p. 43, no. 32, compare it to "Street in a Tahitian Village" (no. 31, Toledo Museum of Art); comment on Gauguin's preference for coarse canvas and burlap to give these paintings and others a "barbaric" look.
Georges Wildenstein. Gauguin. 1, French ed. [English ed. 1965]. Paris, 1964, p. 175, no. 442, ill., ascribes it to Gauguin; calls it "Horse at Pasture" and suggests two sketches, reproduced in Carnet de Tahiti (39R and 63R) [see Ref. Dorival 1954], were the basis for this painting.
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, pp. 174–75, ill.
Ronald Pickvance. The Drawings of Gauguin. London, 1970, p. 34, notes that on the verso of "Head of a Tahitian Man" (Art Institute of Chicago) is a sketch of two standing figures used for this painting; dates the drawing about 1892.
Pierre Leprohon. Paul Gauguin. Paris, 1975, p. 330.
Richard S. Field Harvard University, Cambridge, Mass. Paul Gauguin: The Paintings of the First Voyage to Tahiti. New York, 1977, pp. 163–64, 325, 329–30, no. 47, reads the date as "92" and tentatively dates it to October or November of that year, a period of "really depressed output".
Vivian Endicott Barnett. The Guggenheim Museum: Justin K. Thannhauser Collection. New York, 1978, p. 59, observes that it is related in subject and date to Gauguin's "Haere Mai" of 1891 in the Guggenheim.
Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, p. 15.
Asya Kantor-Gukovskaya in Paul Gauguin, Mysterious Affinities. English ed. (Russian ed. 1995). Bournemouth, 1995, p. 48.
Charlotte Hale in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 175, 190–94, 225, 232 nn. 56, 59, 60, p. 233, n. 70, no. 119, figs. 81 (color), 82 (x-radiograph), based on extensive technical analysis and stylistic evidence, including three related drawings, proposes that this picture is by Gauguin; notes that a recent cleaning reveals that the signature is original and the inscribed date is "92".
Susan Alyson Stein in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 171.
Susan Alyson Stein 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. 143, 215, no. 105, ill. (color and black and white), notes that "recent cleaning and reexamination of this painting have put to rest any question of its authenticity".