Inventaire après décès. June 18, 1883 [published in Ref. Jamot and Wildenstein 1932, vol. 1, pp. 106, 108], lists it under works in the possession of Mme Manet mère, as "Paysage, rivière avec barque par Manet," appraised at Fr 300, or under "Études peintes" as "Esquisse de M. Manet et sa femme".
Théodore Duret. Histoire d'Édouard Manet et de son œuvre. Paris, 1902, pp. 100–1, 201, no. 33 [German ed., "Édouard Manet: Sein Leben und Seine Kunst," Berlin, 1910, pp. 134, 255, no. 33], lists it under works of 1861–62, but dates it 1859 in the text; identifies the couple in the lower right as Manet and his wife dressed in costumes "à la Rubens"; recognizes the landscape as the Seine at Saint-Ouen.
Étienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. , unpaginated, no. 12 [Département des Estampes, Bibliothèque Nationale de France, Paris].
Julius Meier-Graefe. Édouard Manet. Munich, 1912, pp. 123–24, fig. 59, dates it 1862; observes a connection between the handling of trees in this painting and in "Le déjeuner sur l'herbe" (Musée d'Orsay, Paris).
Théodore Duret. Manet and the French Impressionists. 2nd ed. [1st ed. 1910]. London, 1912, p. 224, no. 33.
Étienne Moreau-Nélaton. Manet raconté par lui-même. Paris, 1926, vol. 1, pp. 29–30, fig. 16, dates it about 1860 and notes that Manet titled it "Paysage".
Paul Jamot. "Études sur Manet." Gazette des beaux-arts, 5th ser., 15 (1927), pp. 38–40, 42, ill., dates it before 1860; comments on the costumes and considers two paintings by Annibale Carracci in the Louvre as Manet's inspiration.
Ausstellung Édouard Manet, 1832–1883. Exh. cat., Galerie Matthiesen. Berlin, 1928, p. 24, no. 5, pl. V, dates it about 1861–62.
A. Tabarant. Manet, histoire catalographique. Paris, 1931, pp. 60–61, no. 35, dates it 1861; relates it to Manet's etching called "Les voyageurs"; identifes the child on the river bank as Léon Leenhoff.
Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, pp. 57, 117, no. 30; vol. 2, fig. 13, remark that this picture was signed by Mme Manet, painted in Manet's studio on the Rue Guyot after his sketches of Île Saint-Ouen, and inspired by Carracci's "La pêche" (Musée du Louvre, Paris).
Germain Bazin. "Manet et la tradition." L'Amour de l'art 13 (May 1932), pp. 153–55, figs. 18 and 21 (overall and detail), credits Charles Sterling with the discovery of Manet's borrowing from two Rubens paintings "Parc du Château de Steen" in Vienna and "Landscape with a Rainbow" (Musée du Louvre, Paris), rather than from Annibale Carracci.
Paul Valéry and Paul Jamot. Exposition Manet, 1832–1883. Exh. cat., Musée de l'Orangerie. Paris, 1932, pp. 12–13, no. 14, date it about 1861–63.
Marcel Guérin. L'œuvre gravé de Manet. Paris, 1944, unpaginated, under no. 1.
A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 34–36, 61–62, 524, 534, no. 29, fig. 29, notes that Mme Manet owned a copy of this picture by her nephew Édouard Vibert.
Michel Florisoone. Manet. Monaco, 1947, pp. XV, XVII, pl. 11.
Nils Gösta Sandblad. Manet: Three Studies in Artistic Conception. Lund, 1954, pp. 42–45, 89–90, 170 n. 46, p. 171 n. 47, fig. 3, confuses this painting with "La pêche" in the collection of Baron von der Heydt; relates elements of this work to engravings by Schelte à Bolswert after two Rubens paintings in the Louvre.
James J. Rorimer and Dudley T. Easby Jr. "Review of the Year 1956–1957." Metropolitan Museum of Art Bulletin 16 (October 1957), p. 38, ill. p. 44.
Alain De Leiris. "Manet's 'Christ Scourged' and the Problem of His Religious Paintings." Art Bulletin 61 (March 1959), p. 199 n. 6.
Theodore Reff. "The Meaning of Manet's Olympia." Gazette des beaux-arts, 6th ser., 63 (February 1964), p. 116, recognizes in the two figures on the right, not only Manet and Suzanne Leenhoff, but also the figures of Rubens and Hélène Fourment on which they are modeled.
Anne Coffin Hanson. Édouard Manet, 1832–1883. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1966, pp. 46–47, 49, no. 11, ill., relates it to a watercolor of a man fishing in a boat (Museum Boijmans Van Beuningen, Rotterdam), calling the watercolor a possible link between this painting and "Le déjeuner sur l'herbe" (Musée d'Orsay, Paris).
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 25–27, ill., suggest that it might Manet's earliest landscape painted perhaps before the early 1860s; reiterate the borrowings from works by Annibale Carracci and Rubens.
Sandra Orienti in The Complete Paintings of Manet. New York, 1967, p. 90, no. 34, ill.
Alan Bowness. "Manet and Mallarmé." Philadelphia Museum of Art Bulletin 62 (April–June 1967), p. 213.
Alan Bowness. "Manet at Philadelphia." Burlington Magazine 109 (March 1967), p. 189, fig. 114, dates it 1860 and notes that after cleaning it looks like a "major early work".
Beatrice Farwell. "Manet's 'Espada' and Marcantonio." Metropolitan Museum Journal 2 (1969), p. 206.
Michael Fried. "Manet's Sources." Artforum 7 (March 1969), pp. 28–29, 33–34, 50, 52, 69 nn. 35, 36d, p. 71 n. 69, ill., finds this picture in both scale and character more like Watteau than Rubens; illustrates related pictures.
Theodore Reff. "'Manet's Sources': A Critical Evaluation." Artforum 8 (September 1969), p. 46, considers the stooping figure of Saint John in Raphael's cartoon "The Miraculous Draught of Fishes" (Victoria and Albert Museum, London) as probable inspiration for the fisherman in this picture.
Theodore Reff. "Manet and Blanc's 'Histoire des peintres'." Burlington Magazine 112 (July 1970), pp. 456–57, dates it 1861; observes that the two landscapes by Rubens suggested as sources for this picture ("Park of the Castle of Steen" [Kunsthistorisches Museum, Vienna] and "Landscape with a Rainbow" [Musée du Louvre, Paris]) were published by Blanc in 1864.
Jean C. Harris. Édouard Manet: Graphic Works, A Definitive Catalogue Raisonné. New York, 1970, p. 30, under no. 4.
Germain Bazin. Édouard Manet. Milan, 1972, p. 85, fig. 1 [French ed., 1974].
George Mauner. Manet, Peintre-Philosophe: A Study of the Painter's Themes. University Park, Pa., 1975, pp. 21–22, 24–27, 149, figs. 11, 16, 17 (overall and details).
Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 52, no. 36, ill. p. 53; vol. 2, pp. 96, 136, publish a drawing for the figure of Mme Manet.
Theodore Reff. "Review of Rouart and Wildenstein 1975." Art Bulletin 58 (December 1976), p. 635–36.
Anne Coffin Hanson. Manet and the Modern Tradition. New Haven, 1977, pp. 56, 94, 161, pl. 65, dates it about 1860.
Denys Sutton. Romance and Reality: Aspects of Landscape Painting. Exh. cat., Wildenstein & Co., Inc. New York, 1978, p. 7.
Theodore Reff. Manet and Modern Paris. Exh. cat., National Gallery of Art. Washington, 1982, pp. 16–17, fig. 5.
Charles S. Moffett in Manet, 1832–1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 70–74, 330, 405, no. 12, ill. (color, overall and detail) [French ed., Paris, 1983, pp. 70–74, 405, no. 12, ill. (color, overall and detail)], dates it 1861–63 and suggests that it "may be a variation on a wedding portrait," pointing to iconographic attributes related to marriage present in the work; continues that if in fact this is a marriage portrait, it also recognizes Léon's (the boy fishing in the background) illegitimacy and "simultaneously identifies him as Manet's son"; proposes that the prominent role of the fisherman may be a play on the French word for "sin," the verb of which is nearly identical with "to fish".
Françoise Cachin in Manet, 1832–1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 86, 167 [French ed., Paris, 1983].
Pierre Daix. La vie de peintre d'Édouard Manet. Paris, 1983, pp. 64–65.
Jay McKean Fisher. The Prints of Édouard Manet. Exh. cat., Detroit Institute of Arts. Washington, 1985, pp. 38–39, under no. 7.
Kathleen Adler. Manet. Oxford, 1986, pp. 31–32, 51, fig. 18.
Éric Darragon. Manet. Paris, 1989, pp. 56–57, 65.
Françoise Cachin. Manet. [Paris], 1990, p. 30, fig. 2 (color).
T. A. Gronberg. Manet: A Retrospective. New York, 1990, colorpl. 5, dates it 1861–63.
Éric Darragon. Manet. Paris, 1991, pp. 68–69, 72, 298, fig. 34 (color), tentatively identifies it as "Esquisse de M. Manet et sa femme" under "études peintes" in the posthumous inventory of 1883.
Peter C. Sutton. The Age of Rubens. Exh. cat., Museum of Fine Arts, Boston. Boston, 1993, pp. 94–95, fig. 120.
Vivien Perutz. Édouard Manet. Lewisburg, Pa., 1993, pp. 66, 97–98, fig. 37.
Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 120, 402, fig. 157 [French ed., Paris, 1994, pp. 120, 399, fig. 157]
, suggests that this composition may have been based on sketches done in Genevilliers, France.
Ronald Pickvance. Manet. Exh. cat., Fondation Pierre Gianadda. Martigny, 1996, pp. 217–18, no. 8, colorpl. 8 ill. p. 59 (color detail), dates it about 1858–61; calls the work a "made-up, prefabricated image from disparate sources" and discusses these in depth.
Michael Fried. Manet's Modernism: or, The Face of Painting in the 1860s. Chicago, 1996, pp. 25–26, 37, 40, 82, 86–87, 470–71 nn. 33–34, p. 488 n. 127, p. 491 n. 143, p. 513 n. 37, fig. 2.
Hans Körner. Edouard Manet: Dandy, Flaneur, Maler. Munich, 1996, pp. 29–32, 35, fig. 21 (color).
Beth Archer Brombert. Édouard Manet: Rebel in a Frock Coat. Boston, 1996, pp. 75, 80–81, 85, 110–11, 143, 186, 209, 400.
Alan Krell. Manet and the Painters of Contemporary Life. London, 1996, pp. 14–18, 39, fig. 7, dates it 1861–63.
Paul Hayes Tucker. "Making Sense of Édouard Manet's 'Le déjeuner sur l'herbe'." Manet's "Le déjeuner sur l'herbe". Ed. Paul Hayes Tucker. Cambridge, 1998, p. 23, 34 n. 32, p. 35 n. 33, fig. 14, sees a connection between this and Watteau's "The Village Girl".
Nancy Locke. "Manet's 'Le déjeuner sur l'herbe' as a Family Romance." Manet's "Le déjeuner sur l'herbe". Ed. Paul Hayes Tucker. Cambridge, 1998, p. 137.
Joanna Szczepinska-Tramer. "Manet et 'Le déjeuner sur l'herbe'." Artibus et Historiae no. 38 (1998), pp. 183–187, 189 nn. 31, 33, 42, fig. 4, suggests another source for the figures of Manet and his wife: Van Dyck's "Venus and Adonis" (with Harari and Johns Ltd., London, in 1990).
Nancy Locke. Manet and the Family Romance. Princeton, 2001, pp. 65, 71–72, 74, 78–79, 81–83, 121, 145, 192 n. 114, p. 194 nn. 155, 157, fig. 30, ill. (book jacket in color), disagrees that it represents an allegory of marriage; points out that a "manet" was a type of very fine fishing net, suggesting that the net the fisherman uses serves as a play on words between "manet" and the family name "Manet," concluding that the "picture concerns itself not so much with marriage as with the family name—who has it, who gets it"; discusses this in relation to "La musique aux Tuileries" (National Gallery, London), commenting that the two works can be seen as pendants.
Carol Armstrong. Manet Manette. New Haven, 2002, pp. 11, 15, 26–27, 305, 326 n. 35, ill. p. 29.
Manuela B. Mena Marqués in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 26, 168–72, 224, 257, 280, 294, 374, 435–436, 454, 472, 477, no. 28, ill. (overall and detail, color and black and white), remarks that the landscape in the background is reminiscent of Contable's view of Salisbury cathedral, which he probably had not seen, but which he might have been familiar with through David Lucas's "English Landscape" series of prints of Constable's works of 1830–32.
Valeriano Bozal in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 86–87, 403.
Ann Dumas in Inspiring Impressionism: The Impressionists and the Art of the Past. Ed. Ann Dumas. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, pp. 30, 259, no. 51, ill. p. 36 (color), dates it 1861–63.
Michael Clarke in Inspiring Impressionism: The Impressionists and the Art of the Past. Ed. Ann Dumas. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, p. 171.
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. 79, 226–27, no. 55, ill. (color and black and white).