Robert Maillard in Denis Rouart and Jean-Dominique Rey. Monet, Water-Lilies: Or the Mirror of Time. New York, 1974, ill. p. 188 [French ed., 1972], as "Water Lilies, Reflections of the Willow".
Gary Tinterow in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, p. 67, ill. (color), states that it was "begun by Monet sometime in the late teens and kept in his studio until his death, [and] is one of the most complete and confidently executed pictures of the late series".
Daniel Wildenstein. "1899–1926: Peintures." Claude Monet: Biographie et catalogue raisonné. 4, Lausanne, 1985, pp. 276–77, no. 1858, ill., states that it once belonged to Michel Monet, the artist's son.
Gary Tinterow et al. "Modern Europe." The Metropolitan Museum of Art. 8, New York, 1987, p. 37, colorpl. 22.
Steven Z. Levine. Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. Chicago, 1994, p. 265.
Kadee Robbins in Masterworks from the Louise Reinhardt Smith Collection. Exh. cat., Museum of Modern Art. New York, 1995, pp. 30, 85, ill. p. 31 (color), includes it in the group of late paintings of water lilies, dating between 1914 and the artist's death, calling it part of a series "dedicated to the reflection of a willow tree, demonstrating the increasing dominance of the water".
J. Kirk T. Varnedoe in Masterworks from the Louise Reinhardt Smith Collection. Exh. cat., Museum of Modern Art. New York, 1995, p. 17.
Daniel Wildenstein. "Nos. 1596–1983 et Les Grandes Décorations." Monet: Catalogue raisonné–Werkverzeichnis. 4, 2nd ed. Cologne, 1996, p. 881, no. 1858, ill. (color).
George T. M. Shackelford and Mary Anne Stevens in Monet in the 20th Century. Exh. cat., Museum of Fine Arts, Boston. Boston, 1998, pp. 192, 218, 283, no. 65, ill. (color), as "Water Lilies, Reflections of Weeping Willows"; dates it 1916–19.
Pierre Georgel. Monet: Le cycle des "Nymphéas," catalogue sommaire. Exh. cat., Musée National de l'Orangerie. Paris, 1999, pp. 42, 57, no. 40, ill. (color), dates it about 1915–19.
Karin Sagner-Düchting in Monet and Modernism. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2001, p. 69, ill. p. 94 (color).
Richard Kendall in James A. Ganz and Richard Kendall. The Unknown Monet: Pastels and Drawings. Exh. cat., Royal Academy of Arts, London. Williamstown, Mass., 2007, pp. 242, 263, 265, 302, fig. 265 (color), dates it about 1918; links it to a sketchbook drawing depicting "Monet's graphic shorthand for lilypads" (sketchbook 6, fol. 8v, Musée Marmottan Monet, Paris; D347).
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 140.
Ann Temkin and Nora Lawrence. Claude Monet: Water Lilies. Exh. cat., Museum of Modern Art. New York, 2009, p. 25, fig. 20 (color), date it 1914–26; note that this is one of the paintings reserved in June 1956 by Alfred Barr, for Museum of Modern Art trustees and donors, at Katia Granoff's gallery, Paris.
Paloma Alarcó. Monet y la Abstracción. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2010, pp. 29, 302, 322, ill. p. 117 (color), dates it 1916–19.