Albert C. Barnes and Violette De Mazia. The Art of Renoir. New York, 1935, pp. 77–78, 97, 274, 407–08, 455, no. 133, ill., note the unconventional relationship between figure and background.
Charles Terrasse. Cinquante portraits de Renoir. Paris, 1941, unpaginated, pl. 24.
Michel Drucker. Renoir. Paris, 1944, pp. 62, 203–4, no. 70, colorpl. 70, mentions that the model seems to have posed in several of his other paintings of the same period.
The Metropolitan Museum of Art Miniatures, French Impressionists: Manet, Monet, Pissarro, Renoir, and Boudin. 27, Album 51, New York, 1951, unpaginated, ill. (color).
A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), ill. p. 96.
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. 155–57, ill., believe that it was probably painted during Renoir's stay in Guernsey in September 1883.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill., calls it an early example of Renoir's "dry" manner, combining loose brushstrokes with smooth passages such as the face and hands.
François Daulte. "Figures." Auguste Renoir: Catalogue raisonné de l'œuvre peint. 1, Lausanne, 1971, unpaginated, no. 448, ill.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, p. 191, notes that the handling of the paint is much tighter than in previous paintings.
John Rewald. "The Impressionist Brush." Metropolitan Museum of Art Bulletin 32, no. 3 (1973/1974), pp. 36, 54, no. 23, ill. (overall and color detail), argues that the combination of a linear approach and a painterly style is the result of Renoir's crisis around 1883, when he felt the need to incorporate the discipline of old masters into his Impressionist technique.
Anthea Callen. Renoir. London, 1978, pp. 20, 84, pl. 65, affirms that it was doubtless painted in Renoir's studio after his return to Paris from Guernsey.
Barbara Ehrlich White. Renoir: His Life, Art, and Letters. New York, 1984, pp. 133-34, ill. (color), identifies the model as Renoir's future wife, Aline Charigot, and erroneously states that she is sewing.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 168–69, ill. (color), believes that it was probably painted at Guernsey; argues that Renoir may have painted the figure first and only later added the scenic view as background decoration, as was his custom in the 1880s and 1890s, noting that the background in such paintings is reminiscent of Italian frescoes and Watteau's landscape settings.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 135, 151, 226–27, 257, no. 98, ill.
Colin B. Bailey in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, p. 192, remarks that Georges-Marie-Jean-Hugues Durand-Ruel, the youngest son of Paul-Marie-Joseph, was responsible for selling this painting to Louisine Havemeyer.
Colin B. Bailey in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 73, asserts that it was inspired by Renoir's trip to the Normandy coast and the Channel Islands, commenting that this picture and "Seated Bather" (Fogg Art Museum, Cambridge, Mass.) are "the most important figure paintings undertaken in Paris after his return".
John House. Impressionists by the Sea. Exh. cat., Royal Academy of Arts. London, 2007, pp. 99, 140–41, no. 64, ill. pp. 12, 114, 140 (color, overall and detail), asserts that it is not a portrait, but depicts the generic figure of a seaside tourist, probably studied from a model in the studio.
Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, fig. 11 (installation photo).
Rebecca A. Rabinow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 156, 299, no. 145, ill. (color and black and white).
Colin B. Bailey in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, p. 122, fig. 92.
Guy-Patrice Dauberville and Michel Dauberville. "1882–1894." Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. 2, Paris, 2009, p. 240, no. 1063, ill.