M. Roy Fisher. The Annenberg Collection. Exh. cat., Tate Gallery. London, 1969, unpaginated, no. 22, ill. (color), dates it 1885, the year that Monet returned to figure painting after six years devoted primarily to landscapes
Roger Terry Dunn. "The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889." PhD diss., Northwestern University, Evanston, Ill., 1978, pp. 80, 250.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures. Paris, 1979, pp. 4, 90–91, no. 1133, ill., dates it 1887 and notes that it depicts the same setting as "Suzanne Reading and Blanche Painting" of the same year (Los Angeles County Museum of Art; W1131).
John House. Monet: Nature into Art. New Haven, 1986, pp. 36, 236 n. 93, identifies it as probably no. 145 in Monet's 1889 retrospective [Exh. Paris 1889], grouped with three other paintings; suggests that Monet "did not consider [the figure paintings of this period] to be fully resolved; indeed they seem to have caused him particular difficulties".
Pierre Gassier et al. Claude Monet— Auguste Rodin: Centenaire de l'exposition de 1889. Exh. cat., Musée Rodin. Paris, 1989, pp. 57, 99, ill., identifies it as no. 145 in Exh. Paris 1889.
Colin B. Bailey 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. 56–57, 166, ill. (color and black and white), dates it to the summer of 1887 and identifies the setting as the meadows south of Le Pressoir, Monet's home in Giverny; notes its similarity to "Suzanne Reading and Blanche Painting" (private collection, France; W1132) and "Suzanne Reading and Blanche Painting in the Woods at Giverny (Los Angeles County Museum of Art; W1131), also painted at the same site; remarks that Suzanne was Monet's favorite model after the death of his first wife, Camille; states that Monet's separate rubric for the four undated paintings as "Essais" in Exh. Paris 1889 indicates his "hesitation to present them as fully realized works"; discusses Sargent's influence on these paintings and suggests that his "Claude Monet Painting at the Edge of a Wood" (Tate, London) depicts the same location; mentions it as a possible influence on van Gogh's "Girl in White" of 1890 (National Gallery of Art, Washington).
Daniel Wildenstein. Claude Monet: Catalogue raisonné. Vol. 5, Supplément aux peintures; dessins, pastels, index. Lausanne, 1991, p. 45, no. 1133.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, pp. 191, 199.
Steven Z. Levine. Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. Chicago, 1994, pp. 124, 130.
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, ill. p. 233 (color).
Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné–Werkverzeichnis: Nos. 969–1595. 2nd ed. Cologne, 1996, pp. 429–30, no. 1133, ill. (color).
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 130.
Colin B. Bailey 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. 79–83, no. 16, ill. (color).