Octave Maus. "Le Salon des XX, à Bruxelles." La Cravache parisienne (February 16, 1889), p. 1.
Georges Lecomte. "Société des artistes indépendants." L'Art moderne 10 (March 30, 1890), p. 101.
Jules Christophe. "Georges Seurat." Les Hommes d'aujourd'hui 8 (March–April 1890), unpaginated.
Charles Angrand. Letter to Lucie Cousturier. July 4, 1912 [published in Charles Angrand, "Correspondances, 1883–1926", ed. François Lespinasse, Rouen, 1988, p. 241], mentions it as a landscape owned by Séon.
Maximilien Luce. Letter to Signac. 1916 or 1917 [excerpt published in Ref. Herbert 1991, p. 261], describes it as a landscape of Asnières with the boat "la Félicité".
Johan H. Langaard. "Georges Seurat." Kunst og Kultur 9 (1921), ill. p. 37, as in the collection of Walther Halvorsen.
John Quinn. Letter to Gwen John. August 29, 1921 [see Ref. Langdale 1987, pp. 49, 127 n. 25], inquires whether John admired it.
John Quinn. Letter to Henri Pierre Roché. May 1, 1922 [unpublished typescript copy, The John Quinn Collection of Letters (1902–1924), Frick Art Reference Library, New York], remarks that he bought this painting from Halvorsen the previous summer for Fr 28,000.
André Lhote. Georges Seurat, avec 32 réproductions en phototypie. Rome, 1922, unpaginated, ill., as a view of the Seine.
Walter Pach. Georges Seurat. New York, 1923, unpaginated, ill.
Gustave Coquiot. Seurat. Paris, 1924, p. 248, ill. opp. p. 168.
John Quinn, 1870–1925: Collection of Paintings, Water Colors, Drawings & Sculpture. Huntington, N.Y., 1926, p. 15.
Bruno E. Werner. "George [sic] Seurat." Die Kunst 65 (February 1932), ill. p. 150.
Daniel Catton Rich. Seurat and the Evolution of "La Grande Jatte". Chicago, 1935, p. 61, no. 23, calls it "The River Bank of La Grande Jatte" and dates it 1886.
Robert J. Goldwater. "Some Aspects of the Development of Seurat's Style." Art Bulletin 23 (June 1941), p. 125, fig. 18, dates it 1885.
John Rewald. Georges Seurat. 2nd rev. ed. [1st ed., 1943]. New York, 1946, fig. 85, dates it about 1887.
Paul F. Schmidt. "Georges Seurat." Die Kunst und das schöne Heim 47 (July 1949), ill. p. 142.
Jacques de Laprade. Seurat. Paris, 1951, ill. p. 58, as in a private collection; dates it 1887.
Henri Dorra and John Rewald. Seurat: L'œuvre peint, biographie et catalogue critique. Paris, 1959, pp. 238–39, no. 190, ill., call it "Temps gris, Grand-Jatte," and date it 1888; question whether the painted border was added by the artist.
C. M. de Hauke. Seurat et son œuvre. Paris, 1961, vol. 1, pp. 132–33, no. 177, ill., dates it about 1887.
Louis Hautecœur. Georges Seurat. Milan, 1972, ill. p. 47 (color).
Fiorella Minervino in L'opera completa di Seurat. [1st, French ed., 1973]. Milan, 1972, pp. 104–5, no. 178, ill., states that the painted border was a later addition, possibly by a hand other than Seurat.
Judith Zilczer. "The Noble Buyer:" John Quinn, Patron of the Avant-Garde. Exh. cat., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Washington, 1978, pp. 52, 185–86, dates it about 1887; notes that it was owned by Quinn's sister, Julia Quinn Anderson.
Richard Thomson. Seurat. Oxford, 1985, p. 136, notes that it was exhibited with "Banks of the Seine (Island of the Grande-Jatte)" of 1888 (Musées Royaux des Beaux-Arts, Brussels; H176) at the exhibition of Les Vingt in 1889 [Exh. Brussels 1889].
Cecily Langdale. Gwen John: With a Catalogue Raisonné of the Paintings and a Selection of the Drawings. New Haven, 1987, p. 127 n. 25.
John Rewald. Seurat: A Biography. New York, 1990, ill. p. 172 (color), dates it 1888.
Catherine Grenier. Seurat: Catalogo completo dei dipinti. Florence, 1990, p. 114, no. 177, ill., dates it 1887.
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. 68–71, 176–77, ill. (color and black and white), dates it 1887 or later, stating that Seurat began experimenting with painted borders in 1887; notes that Seurat gave it the unusually descriptive title "Gray Weather"; does not believe that the border was added at a later date.
Michael F. Zimmermann. Seurat and the Art Theory of His Time. Antwerp, 1991, pp. 440–42, 475 n. 148, fig. 595 (color), notes the high perspective from which the painter views the "Seine water-meadow" and describes the scene as "a summer landscape wet from rain".
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 38.
Robert L. Herbert et al. Georges Seurat, 1859–1891. Exh. cat., The Metropolitan Museum of Art. New York, 1991, pp. 258, 260–61, 409–10, no. 173, ill. (color) [French ed., "Seurat", Paris, 1991, pp. 299–300, no. 172, ill. (color)], dates it 1886–87; states that the painted border, which was painted over a white ground, was added about 1888–89; calls it "virtually a pendant" to "Bridge at Courbevoie" of 1886 (Courtauld Gallery, London; H178).
Anne Distel. Seurat. [Paris], 1991, pp. 154, 158, no. 14, ill., dates it 1887.
Richard Tilston. Seurat. London, 1991, pp. 134, 146, ill. (color), dates it 1888.
Sarah Carr-Gomm. Seurat. London, 1993, pp. 114–15, ill. (color), dates it about 1888; states that the steamer "La Félicité" was probably a pleasure craft and that the prows of the river boats to the left display the flags of their boat club or leasing agency; comments that the high viewpoint is unusual in Seurat's compositions.
Matthias Waschek in In Perfect Harmony: Picture + Frame, 1850–1920. Ed. Eva Mendgen. Exh. cat., Van Gogh Museum. Amsterdam, 1995, pp. 156, 158, fig. 139 (color), calls it "Rainy Day on the Island of La Grande Jatte" and dates it 1886–87; agrees with Herbert [see Ref. 1991] that the painted border was added later; remarks that although the border and image are clearly separated, they are related through color.
Susan Alyson Stein in "Recent Acquisitions, A Selection: 2001–2002." Metropolitan Museum of Art Bulletin 60 (Fall 2002), pp. 5, 33, ill. (color), calls the Parisian suburb visible across the Seine either Asnières or Courbevoie.
Robert L. Herbert et al. Seurat and the Making of "La Grande Jatte". Exh. cat., Art Institute of Chicago. Chicago, 2004, pp. 96, 132–33, ill. (color).
Sylvie Patry in Le Néo-impressionnisme de Seurat à Paul Klee. Exh. cat., Musée d'Orsay. Paris, 2005, p. 144, dates it 1887–88.
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 180, 303, no. 167, ill. (color and black and white).
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. 237–43, no. 44, ill. (color), dates it about 1886–88, suggesting it may be slightly later than "Bridge at Courbevoie" in London and "The Seine at La Grande Jatte" in Brussels; states that recent x-radiography proves that Seurat restretched this canvas to add the painted border sometime before Exh. Brussels 1889.
R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 844, fig. XV (color).
Michelle Foa. Georges Seurat: The Art of Vision. New Haven, 2015, p. 105, fig. 74 (color).