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, p. 153, ill., note that it was formerly called "Landscape, Guernsey"; comment that it was undoubtedly painted during Renoir's second visit to the diplomat Paul Bérard at Wargemont, near Berneval, on the Channel coast; characterize the painting as an example of Renoir's impressionistic style of the late 1870s and early 1880s.
Renoir: In Commemoration of the Fiftieth Anniversary of Renoir's Death. Exh. cat., Wildenstein & Co., Inc. New York, 1969, unpaginated, no. 34, ill.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, p. 165, ill. (color), affirms that Renoir painted it out-of-doors, "working quickly and broadly to capture the landscape's salient features before the lighting conditions changed"; comments that as in many classic Impressionist works by Renoir and Monet, the surface is quite rough.
John House. Renoir, Master Impressionist. Exh. cat., Queensland Art Gallery, Brisbane. Sydney, 1994, pp. 21, 84–85, no. 17, ill. (color), calls it "View of the Coast near Wargemont"; contrasts its technique with some of Renoir's other Wargemont paintings of the previous year.
Götz Adriani. Renoir. Exh. cat., Kunsthalle Tübingen. Cologne, 1996, pp. 41, 198–99, no. 57, ill. (color).
Richard Shone. The Janice H. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, fig. 25.
Colin B. Bailey in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 198 n. 4, pp. 204, 215, identifies the same site from a different angle in Renoir's "The Mussel Harvest" of 1879 (National Gallery of Art, Washington).
John Zarobell in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, pp. 218–19, no. 52, ill. (color), asserts that it was begun outdoors but completed in the studio, noting the contrast between the thick areas of pigment and the lighter treatment of sea and sky.
Guy-Patrice Dauberville, and Michel Dauberville, with Camille Fremontier-Murphy. Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. 1, 1858–1881. Paris, 2007, p. 213, no. 155, ill.
John House in Renoir in the Barnes Foundation. New Haven, 2012, p. 95, fig. 2 (color), states that the landscapes Renoir painted at Wargemont in 1879 and 1880 "mark the beginning of his move away from the explicitly contemporary scenarios of the environs of Paris to the seemingly more timeless, unchanging scenes that he favored in his later work" and notes the "unconventional viewpoint".