Lucie Cousturier. "Georges Seurat (1859–1891)." L'Art décoratif 27 (June 1912), ill. p. 362.
Walter Cohen. "Rheinischer Kunstbrief." Kunstchronik und Kunstmarkt, n.s., no. 33 (May 30, 1919), p. 683, ill. p. 686, notes that it is on exhibition at the Galerie Flechtheim in Düsseldorf.
Lucie Cousturier. Seurat. Paris, , pl. 5, dates it 1882.
Gustave Coquiot. Seurat. Paris, 1924, pp. 198, 245, dates it 1882.
Lucie Cousturier. Seurat. Paris, 1926, fig. 3.
Claude Roger-Marx. Seurat. Paris, 1931, fig. 2, dates it 1882.
Douglas Lord [Douglas Cooper]. "Shorter Notices: The Impressionists at the Palais des Beaux Arts [Brussels]." Burlington Magazine 67 (August 1935), p. 87, identifies the lender to Exh. Brussels 1935 as Kocherthaler.
Benedict Nicolson. "Seurat's 'La Baignade'." Burlington Magazine 79 (November 1941), p. 146, surmises that it was probably painted in 1882, but suggests that Seurat added the "enhancing spots on the bark of the trees at a later date, when 'pointillisme' began to intrigue him"; compares this later technique with the "superimposed spots of pure red" on the cap of the boy in the water in "Bathers at Asnières" (National Gallery, London).
John Rewald. Georges Seurat. [2nd, revised ed. 1946; French ed. 1948]. New York, 1943, p. 8, dates it 1882.
John Rewald. Seurat (1859–1891). [1st ed.]. Paris, [1949?], pl. 13, dates it 1882; as in the collection of Kenneth Clark, London.
R[eginald]. H[oward]. Wilenski. Seurat (1859–1891). Exh. cat., Faber Gallery. London, 1949, p. 2, dates it 1882.
Henri Dorra and John Rewald. Seurat: L'œuvre peint, biographie et catalogue critique. Paris, 1959, p. 7, no. 8, ill., date it "1880 (?)".
William I. Homer. "Henri Dorra and John Rewald, Seurat; l'œuvre peint; biographie et catalogue critique." Art Bulletin 42 (September 1960), p. 230, disagrees with Dorra and Rewald's [see Ref. 1959] date, noting that such a date would make it Seurat's first pointillist work.
C. M. de Hauke. Seurat et son œuvre. Paris, 1961, vol. 1, pp. 8–9, 258, 263, no. 14, ill., dates it about 1882; reproduces an installation photograph of it in Exh. Paris 1936.
William I. Homer. "Seurat's Paintings and Drawings." Burlington Magazine 105 (June 1963), p. 284, states that it is "one of the most problematic canvases of Seurat's oeuvre"; agrees with Nicolson's [see Ref. 1941] opinion that it is an early canvas later repainted in a pointillist technique, noting that "the underpainting is composed of sombre earth colours, which we know Seurat did not use after 1884; but subsequent layers of pigment were applied in a pointillist manner characteristic of his technique of 1886–7".
John Russell. Seurat. New York, 1965, pp. 105–6, 278, colorpl. 101, dates it about 1883–87; states that it "owes something to Corot in the delicate alignment of branches and trunks"; calls it the first oil by Seurat that shows "maintenance throughout the picture of a perfectly unemphatic handling".
Anthony Blunt in Roger Fry. Seurat. London, 1965, p. 77, colorpl. 3, questioningly dates it 1881, noting it was reworked later; states that "the artist seems to have reworked the whole canvas, with the result that there is some feeling of conflict between the general conception of the painting and its actual execution".
Robert L. Herbert. Neo-Impressionism. Exh. cat., Solomon R. Guggenheim Museum. New York, 1968, p. 101, no. 64, ill., dates it 1881, noting that Seurat spent several weeks in Pontaubert in the late summer and early autumn of that year; rejects the theory that Seurat reworked it later, calling it "a perfectly logical outgrowth of Seurat's immersion in Barbizon style" and asserts that the pigments are those the artist used in 1881–82; calls it Seurat's most ambitious painting before the "Bathers at Asnières" in London.
Pierre Courthion. Georges Seurat. 1st ed. New York, , pp. 68–69, ill. (color), dates it about 1882; notes that the "stiffly vertical tree" in the foreground later appears in "La Grande Jatte" (Art Institute of Chicago), "The Seine at Courbevoie" (Private collection), and other works.
Fiorella Minervino in L'opera completa di Seurat. [1st, French ed., 1973]. Milan, 1972, pp. 91–92, no. 12, ill., dates it about 1882.
Louis Hautecœur. Georges Seurat. Milan, 1972, ill. p. 83, dates it about 1880.
Norma Broude. "New Light on Seurat's 'Dot': Its Relation to Photomechanical Color Printing in France in the 1880's." Art Bulletin 56 (December 1974), pp. 585–86, fig. 6, dates it 1881–82.
Angelica Zander Rudenstine. The Guggenheim Museum Collection. Vol. 2, Paintings 1880–1945. New York, 1976, p. 639, states that Herbert's analysis [see Ref. 1968] dating it to 1881 was later substantiated by the discovery of an inn receipt recording Seurat's Pontaubert visit in October 1881.
Masataka Ogawa and Takeshi Kashiwa. Seurat. Tokyo, 1978, unpaginated, colorpl. 2.
Richard Thomson. Seurat. Oxford, 1985, p. 41, colorpl. 30, as in the collection of Mr. and Mrs. Alan Clark, Saltwood Castle; dates it 1881.
Gary Tinterow in Recent Acquisitions: A Selection, 1985–1986. New York, 1986, p. 34, ill., dates it 1881; calls it "perhaps the key work in Seurat's early œuvre, forming a link between his extensive career as a draftsman and his first programmatic picture, 'Bathing at Asnières'"; states that its complex painting technique is "the first manifestation of what would become the artist's preoccupation".
Denys Sutton in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo?], 1989, p. 23.
Gary Tinterow in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo?], 1989, p. 156, no. 101. ill. (color), dates it about 1881.
John Rewald. Seurat: A Biography. New York, 1990, ill. p. 19 (color), dates it 1881.
Alain Madeleine-Perdrillat. Seurat. New York, 1990, p. 43, ill. (color), dates it about 1880–81.
Catherine Grenier. Seurat: Catalogo completo dei dipinti. Florence, 1990, p. 23, colorpl. 12, dates it 1882.
Michael F. Zimmermann. Seurat and the Art Theory of His Time. Antwerp, 1991, p. 103, fig. 169 (color), dates it about 1882; believes that most of the "pointillist" dabs of color form part of the original composition; asserts that studies "of this type formed part of the classical curriculum at art schools," providing another argument for an early date.
Robert L. Herbert et al. Georges Seurat, 1859–1891. Exh. cat., The Metropolitan Museum of Art. New York, 1991, pp. 113–16, 136, 433, no. 79, ill. (color) [French ed., "Seurat", Paris, 1991, pp. 152–54, 156, 172, no. 78, ill. (color)], dates it 1881–82; hails it as the "largest and most ambitious of Seurat's canvases" until the London "Bathers".
Richard Tilston. Seurat. London, 1991, pp. 32–33, ill. (color), dates it 1881 and erroneously locates it in a private collection; cites the influence of Corot.
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.
Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.
Peter Paquet. Helldunkel, Raum und Form: Georges Seurat als Zeichner. Frankfurt am Main, 2000, p. 141.
Christophe Duvivier in Georges Seurat et le néo-impressionnisme, 1885–1905. Exh. cat., Museum of Art, Kochi. Tokyo, 2002, pp. 11, 228, fig. 8.
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. 150, 254–55, no. 110, 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. 176, 301–2, no. 164, ill. (color and black and white).
Nicole Tamburini in Georges Seurat, Paul Signac e i neoimpressionisti. Exh. cat., Palazzo Reale. Milan, 2008, pp. 102–3, 225, no. 1, ill. (color and black and white), dates it 1881–82.
Nancy Ireson. "The pointillist and the past: three English views of Seurat." Burlington Magazine 152 (December 2010), pp. 802–3, fig. 29 (color).
Kasper Monrad in Hammershøi and Europe. Ed. Kasper Monrad. Exh. cat., Statens Museum for Kunst. Copenhagen, 2012, pp. 130, 132, no. 107, compares it to Vilhelm Hammershøi's "Landscape in Snow, Søndermarken" (1895–96, The Hirschsprung Collection, Copenhagen).
Tone Bonnén in Hammershøi and Europe. Ed. Kasper Monrad. Exh. cat., Statens Museum for Kunst. Copenhagen, 2012, p. 231.
Hammershøi and Europe. Ed. Kasper Monrad. Exh. cat., Statens Museum for Kunst. Copenhagen, 2012, p. 241.