Camille Pissarro. Letter to Lucien Pissarro. December 4, 1898 [published and translated in John Rewald, ed., "Camille Pissarro, Letters to His Son Lucien," London, 1980, p. 333], mentions that he has rented an apartment at 204 rue de Rivoli, facing the Tuileries, and plans to paint a series based on the view [PV1097–1110, 1123–1136].
Camille Pissarro. Letter to Lucien Pissarro. May 25, 1899 [published and translated in John Rewald, ed., "Camille Pissarro Letters to His Son Lucien," London, 1980, p. 336], writes that he has sent eleven of the Tuileries canvases to Durand-Ruel, including this painting [see Ref. Lloyd and Distel 1980].
Camille Pissarro. Letter to Durand-Ruel. May 17, 1899 [published in Ref. Bailly–Herzberg 1991, p. 26], lists eleven paintings sent to Durand-Ruel, including this one as no. 1, for Fr 3,000 [see Ref. Snollaerts 2005].
René Jean. L'Art français a Saint-Pétersbourg: Exposition centennale. Exh. cat.Paris, 1912, p. 85.
Arsène Alexandre. "Exposition d'art moderne à l'Hôtel de la revue 'Les arts'." Les arts no. 128 (August 1912), p. 9, ill.
Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, p. 233, no. 1097; vol. 2, pl. 219, no. 1097.
Modern French Painting. Exh. cat., Wildenstein & Co., Inc. New York, 1962, unpaginated, no. 50, ill., erroneously list it as "Champs de Mars aux Tuileries" and date it 1902.
Charles S. Moffett and Anne Wagner in The Metropolitan Museum of Art: Notable Acquisitions, 1979–1980. New York, 1980, pp. 45–46, ill., remark that this reflects Pissarro's continuing interest in studying changes in light and weather, here at a particular moment and place in Paris.
Christopher Lloyd and Anne Distel in Pissarro. Exh. cat., Hayward Gallery. London, 1980, p. 146, identify this as one of the eleven canvases that Pissarro mentions he sent to Durand-Ruel in a letter of May 23, 1899 to his son Lucien.
Anne Schirrmeister. Camille Pissarro. New York, 1982, p. 17, colorpl. 15.
Christopher Lloyd in Retrospective Camille Pissarro. Exh. cat., Isetan Museum of Art. [Tokyo], 1984, p. 139, under no. 62, identifies it as part of a series of views of the Jardin des Tuileries seen from an apartment at 204 rue de Rivoli, painted between December 1898 and April 1899 (PV1097–1110); identifies the buildings visible throughout the series.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 102–3, ill. (color).
Janine Bailly-Herzberg. Correspondance de Camille Pissarro, 1899–1903. 5, Saint-Ouen-l'Aumône, 1991, p. 26.
Richard R. Brettell and Joachim Pissarro. The Impressionist and the City: Pissarro's Series Paintings. Exh. cat., Dallas Museum of Art. New Haven, 1992, pp. 102, 107, 213, no. 76, ill. (overall and detail).
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, pp. 165–66, ill.
Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 45, 59 n. 313, pp. 365, 367, 369–71, 373–75, 383–84, 394, 396, 398, 414–15; vol. 3, pp. 782–84, 811, 955, 959, no. 1257, ill. (color).
Alexia de Buffévent in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 286–88, 299, 302.
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. 77, 247–48, no. 53, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 91, 292–93, no. 85, ill. (color and black and white).
Laura D. Corey in The Art of the Louvre's Tuileries Garden. Exh. cat., High Museum of Art. Atlanta, 2013, pp. 84, 99, 109 n. 5, p. 174, colorpl. 53, ill. p. 82 (color detail), compares this work to Monet's "The Tuileries (study)," ca. 1875–76 (Musée d'Orsay, Paris), and observes that as a native of St. Thomas who spent much of his life in rural France, Pissarro "studied the Tuileries as an engaged but dispassionate outsider".
Paula Deitz in The Art of the Louvre's Tuileries Garden. Exh. cat., High Museum of Art. Atlanta, 2013, pp. 23–25, fig. 10 (color).