"Louveciennes et ses peintres." Louveciennes: Bulletin officiel municipal no. 40 (March 1980), p. 13, ill., states that the subject is inappropriately identified as a park in Louveciennes and that it represents instead a much-used road.
Christopher Lloyd in Retrospective Camille Pissarro. Exh. cat., Isetan Museum of Art. [Tokyo], 1984, p. 128, under no. 12.
Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 64–65, no. 19, ill. (color, overall and detail).
Charles Harrison. "Impressionism, Modernism and Originality." Modernity and Modernism: French Painting in the Nineteenth Century. New Haven, 1993, p. 184, pl. 174, contrasts it with Pissarro's painting of the same motif, stating that the Renoir "represents the viewpoint of a tourist looking for a rural idyll".
Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, p. 456, no. 179, ill., suggests that it was made when Renoir visited his parents in Voisins-Louveciennes in the summer of 1869; notes the presence of the aqueduct of Louveciennes, near where Monet lived at the time, and calls it little known; remarks that Pissarro painted the same motif the following spring.
Gary Tinterow in Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 263, 297, 448, no. 179, fig. 325 (color), groups it with works exhibiting the aesthetic of the pochade.
John House. Landscapes of France: Impressionism and Its Rivals. Exh. cat., Hayward Gallery. London, 1995, pp. 190–93, no. 64, ill. (color, overall and detail), discusses the Marly Aqueduct, which appears in this and several other paintings of this area, in connection with Pissarro's "The Versailles Road at Louveciennes (Rain Effect)" (Clark Art Institute, Williamstown); contrasts it with the painting at the Clark and suggests that the principal difference is in the figures, which here make the scene into a pleasure ground, and in the Pissarro, a workplace; notes that the handling in our painting is comparable to Renoir's "La promenade" of 1870 (J. Paul Getty Museum, Los Angeles).
Colin B. Bailey in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, pp. 103–5, no. 8, ill. (color), calls it "Road in Louveciennes" and dates it early summer 1870; identifies the site as the rue St-Michel with the Marly aqueduct in the background; states that the signature was added at a later date; observes the contrast between the finely dressed couple and girl with the peasant boy and woman passing by "in quiet acknowledgement of their separate rituals".
John Zarobell in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 108.
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. 231, no. 180, ill.