Élie Faure. "Toujours Cézanne." L'Amour de l'art 1 (December 1920), ill. p. 268, as "Portrait de paysan".
Paul Jamot. "L'Art français en Norvège." La Renaissance 12 (February 1929), pp. 86, 104, ill., locates it in the collection of Christian Mustad; tentatively identifies the sitter as one of the models for "The Cardplayers" (Barnes Foundation, Merion, Pennsylvania; R706) [see Ref. Rishel 1991].
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, p. 213, no. 691; vol. 2, pl. 224, no. 691, calls it "Paysan" and dates it 1895–1900; places it formerly in the collection of Josse [sic] Hessel, Paris.
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, p. 113, no. 605, ill.
Marcel Brion. Paul Cézanne. Milan, 1972, ill. p. 56 (color).
John Rewald. Cézanne: A Biography. New York, 1986, p. 277, ill. p. 206 (color), dates it 1898–1900.
Catherine Barnett. "A Very Private View: Inside Walter Annenberg's Personal Paradise." Art & Antiques 6 (March 1989), pp. 98–99, 106, ill. (color).
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 82–83, 184–85, 187, ill. (color and black and white), dates it 1895–1900; notes that although the sitter cannot be identified as one of the models in any of the versions of "The Cardplayers," "he almost certainly was, like them, one of the farm hands who worked at Cézanne's mother's house"; states that although still life elements appear often in Cézanne's male figure studies, they are unusually independent here, and that the figure itself takes on "the aspect of one more still-life element in the composition"; notes similarities between the sitter's clothes and those worn by Cézanne [see photographs in Ref. Rewald 1986, pp. 258–59].
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, p. 496, no. 827; vol. 2, ill. p. 289, calls it "Portrait de paysan assis" and dates it 1898–1900.
Gary Tinterow in "Recent Acquisitions, A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), pp. 5, 57, ill. (color), dates it about 1892–96; notes that it relates in mood and palette to the series of cardplayers.
Nils Messel in Impressionism and the North. Late 19th Century French Avant-Garde Art and the Art in the Nordic Countries 1870–1920. Ed. Torsten Gunnarsson and Per Hedström. Exh. cat., Nationalmuseum. Stockholm, 2002, p. 240, ill. p. 237 (color), calls it "Portrait of a Seated Farmer" and dates it 1898–1900.
Nina Maria Athanassoglou-Kallmyer. Cézanne and Provence: The Painter in His Culture. Chicago, 2003, p. 210, fig. 5.25 (color), calls it "Portrait de paysan assis" and dates it 1898–1900.
Bruno Ely. "'Pater omnipotens Aeterne Deus': L'achat et la vente du Jas de Bouffan par la famille Cézanne." Jas de Bouffan—Cézanne. Aix-en-Provence, 2004, ill. p. 25 (color).
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 157–61, 171 n. 1, no. 30, ill. (color), dates it about 1892–96 based on stylistic considerations, adding that it was definitely painted at the Jas de Bouffan before the sale of the property in September 1899; compares it to Cézanne's later series of the gardener Vallier (about 1905–6; Tate, London; R950 and Stiftung Sammlung E. G. Bührle, Zurich; R953).
Nancy Ireson and Barnaby Wright in Cézanne's Card Players. Ed. Nancy Ireson and Barnaby Wright. Exh. cat., Courtauld Gallery. London, 2010, pp. 15, 20.
John House in Cézanne's Card Players. Ed. Nancy Ireson and Barnaby Wright. Exh. cat., Courtauld Gallery. London, 2010, p. 55.
Barnaby Wright in Cézanne's Card Players. Ed. Nancy Ireson and Barnaby Wright. Exh. cat., Courtauld Gallery. London, 2010, pp. 148–51, no. 24, ill. (color, overall and detail), identifies this setting as apparently the same room as the MMA (61.101.1) and Barnes Foundation "Card Players" compositions (R707 and 706); notes that the same model appears in "Standing Peasant with Crossed Arms" (about 1895; Barnes Foundation, Merion, Penn.; R787); compares this picture to Cézanne's portrait of Vollard (1899; Musée du Petit-Palais, Paris; R811).