Georges Rivière. "L'Exposition des impressionnistes." L'Impressionniste no. 2 (April 14, 1877) [reprinted in Ref. Berson 1996, vol. 1, p. 182], describes this painting hanging above a door in the second room at the 1877 Impressionist exhibition.
Hans Rosenhagen. "Von Ausstellungen und Sammlungen." Die Kunst für Alle 19 (June 1, 1904), p. 403, describes this picture in an exhibition at the Salon Paul Cassirer [Exh. Berlin 1904].
Julius Meier-Graefe. Modern Art, Being a Contribution to a New System of Aesthetics. London, 1908, vol. 1, ill. opp. p. 264 (woodcut), as " A Sunday in Summer (Dimanche d'été)," in the Hessel collection, Paris.
Émile Bernard. "Erinnerungen an Paul Cézanne." Kunst und Künstler 6 (September 3, 1908), ill. p. 524, as "Sommersonntag".
Max Liebermann. Letter to Gustav Pauli. January 27, 1909 [excerpt published in Ref. Krieger 1979, pp. 68–69; English transl. in Ref. Rewald 1975, p. 159], comments that this picture "ist vielleicht zu sehr Dekoration und etwas zu wenig Natur, fast venezianisch, aber es ist charmant und schlägt Alles andere tot" ["The picture may be too much decoration and not quite enough nature, almost Venetian, but it is charming and kills everything else"].
Julius Meier-Graefe. Paul Cézanne. 3rd ed., rev. and expanded. Munich, 1910, ill. p. 17, as "Ein Sommersonntag".
Cézanne. Paris, 1914, p. 63, pl. X, as "La Journée de juillet".
Ambroise Vollard. Paul Cézanne. [Eng. ed., 1923]. Paris, 1914, p. 34 n. 1, pl. 8, calls it "La Promenade" and dates it 1871.
Julius Meier-Graefe. Entwicklungsgeschichte der modernen Kunst. Vol. 3, 2nd ed. Munich, 1915, pp. 565–66, pl. 489, calls it "Sommertag" or "Promenade" and dates it 1871; discusses the abandonment of the baroque and influence of Pissarro and the other Impressionists in this picture.
Gustave Coquiot. Paul Cézanne. Paris, , pp. 68, 211, 245, calls it "La Promenade" and dates it 1871.
Julius Meier-Graefe. Cézanne und sein Kreis: Ein Beitrag zur Entwicklungsgeschichte. 3rd ed. [1st ed., 1918]. Munich, 1920, p. 74 n. 4, ill. opp. p. 96, calls it "L'Après midi bourgeoise (La Promenade)" in the text and "Sommertag" in the caption; considers it one of the most beautiful of Cézanne's river scenes.
Curt Glaser. Paul Cézanne. Leipzig, 1922, pl. 5, calls it "Sommertag" and dates it 1871.
Max J. Friedländer. "Über Paul Cézanne." Die Kunst für Alle 45 (February 1922), ill. opp. p. 136, calls it "Sonntag-Nachmittag".
Georges Rivière. Le Maître Paul Cézanne. Paris, 1923, pp. 199, 233, calls it "La Promenade" and dates it 1871.
Julius Meier-Graefe. Cézanne. London, 1927, pp. 25, 35–36, pl. XII.
Eugenio d'Ors. Paul Cézanne. Paris, 1930, pp. 62, 70, 74, calls it "Un jour d'été" and states that it was begun in the summer of 1871.
Rudolf Grossmann. "Liebermann as Collector." Formes no. 4 (April 1930), p. 18, ill. opp. p. 19, calls it "The June Day".
Walter Feilchenfeldt. Letter to Dr. Wartmann. May 2, 1933 [published in "Max Liebermann und die französischen Impressionisten," Düsseldorf, 1997, p. 239], lists it as "Junitag," among the pictures that Max Liebermann is leaving in Zurich for safe-keeping.
Lionello Venturi. "Cézanne." L'arte 6 (July 1935), pp. 323–24, fig. 11, calls it "Scena fantastica" and dates it 1877; locates it in the Kunsthaus Zurich; compares it to "The Temptation of Saint Anthony" (Stiftung Sammlung E. G. Bührle, Zurich; V103, R167).
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, pp. 37–38, 119, 298, no. 243; vol. 2, pl. 65, no. 243, calls it "Scène fantastique" and dates it 1873–75; locates it as still in the Max Liebermann collection; identifies a pencil study for this picture (Adrien Chappuis, Tresserve; V1230, Chappuis 321).
René Huyghe. Cézanne. Paris, 1936, pp. 34, 53, fig. 17, calls it "L'après-midi d'été" and dates it about 1871; locates it in the Liebermann collection, Berlin; compares it to "Idylle" (about 1870; Musée d'Orsay, Paris; V104, R166), noting the similarity of the landscape and disposition of the figures, although the nudes have been replaced by contemporary figures in our picture.
Paul Cézanne. Exh. cat., Kunsthalle Basel. Basel, 1936, p. 12, no. 12, dates it 1873–75.
R. H. Wilenski. Modern French Painters. New York, , p. 39, lists this picture among those in the third room of the 1877 Impressionist exhibition [see Ref. Rivière 1877].
Erle Loran. Cézanne's Composition: Analysis of His Form with Diagrams and Photographs of His Motifs. [2nd ed., 1946]. Berkeley, 1943, p. 57.
Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, p. 27, compares it to "Le Pêcheur à la ligne" (1868–70; present location unknown; V115, R162).
Theodore Reff. "Cézanne: The Enigma of the Nude." Art News 58 (November 1959), p. 29, ill., mentions its conflicting Impressionist and "visionary" qualities.
Theodore Reff. "Cézanne's Constructive Stroke." Art Quarterly 25 (Autumn 1962), pp. 220–21, 225 nn. 16–17, suggests that this picture may have been painted "well before" its exhibition in 1877 since it lacks the diagonal parallel brushstroke characteristic of Cézanne's style of the late 1870s; notes that all of the paintings exhibited in the 1877 Impressionist exhibition were signed in red, including this one.
Adrien Chappuis. Les dessins de Paul Cézanne au Cabinet des estampes du Musée des Beaux-Arts de Bâle. Olten, Switzerland, 1962, vol. 1, pp. 15, 61, 118, fig. 27, compares the trees in this picture to those in the drawing "Quatre hommes assis sous un arbre" (1871–74; Kunstmuseum Basel; V1204, C256); identifies "Femme et fillette levant le bras" (about 1873; Kunstmuseum Basel; C320) as a study for our picture.
Kurt Badt. The Art of Cézanne. [German ed., 1956]. Berkeley, 1965, p. 191 n. 17, mentions it as one of the few early Cézanne landscapes depicting people or animals.
Wayne V. Andersen. "Cézanne, Tanguy, Chocquet." Art Bulletin 49 (June 1967), p. 137, compares it to the painting, "Apothéose de Delacroix" (1890–94; Musée Granet, Aix-en-Provence; V245, R746); notes that a watercolor study for "Apothéose" (1878–80; private collection, London; V891, RWC 68) is based on our picture.
John Rewald. "Chocquet and Cézanne." Gazette des beaux-arts, 6th ser., 74 (July–August 1969), pp. 47, 49, 75, 83, no. 22, fig. 9, calls it "Les pêcheurs" and dates it about 1875; compares the setting to a Monet Argenteuil landscape; tentatively agrees with Reff's [Ref. 1962] hypothesis that the works with red signatures were those shown in the 1877 Impressionist exhibition; theorizes that the selection of Cézanne's works for the exhibition was not finalized until the last minute, at which time Chocquet requested that the artist sign the canvases, thus explaining the use of the same color throughout; publishes an inventory of Madame Chocquet's collection, listing this picture as "Promeneurs au bord d'une rivière"; suggests that Hessel may have purchased it from the Chocquet sale as an agent for Liebermann [but see provenance].
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 98–99, no. 261, ill.
Wayne Andersen. Cézanne's Portrait Drawings. Cambridge, Mass., 1970, p. 138, identifies an additional drawing as a study for this painting (about 1873; Boymans-van Beuningen Museum, Rotterdam; V1218, C353).
Adrien Chappuis. The Drawings of Paul Cézanne: A Catalogue Raisonné. Greenwich, Conn., 1973, vol. 1, pp. 117, 122.
Karl-Heinz Janda and Annegret Janda. "Max Liebermann als Kunstsammler." Forschungen und Berichte 15 (1973), pp. 106, 116, 122 n. 65, p. 123, no. 4, pl. 14, fig. 4, notes that this painting was one of the last to be acquired by Hugo von Tschudi for the Nationalgalerie, Berlin, but was returned to Cassirer shortly thereafter.
John Rewald. "Some Entries for a New Catalogue Raisonné of Cézanne's Paintings." Gazette des beaux-arts, 6th ser., 86 (November 1975), pp. 158–59, ill., remarks that "Scène fantastique," the title frequently given to this picture, seems the least appropriate; argues that "Les pêcheurs," the title listed in Chocquet's sale, is preferable since Chocquet bought the picture directly from the artist; asserts that it is a continuation of Cézanne's earlier imaginary scenes, but that the previous emphasis on drama and mystery is replaced by serenity.
Peter Krieger in Max Liebermann in seiner Zeit. Exh. cat., Nationalgalerie Berlin. Berlin, 1979, pp. 68–69, 71 n. 41, fig. 17.
John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 102, under no. 68, suggests that the watercolor "Apothéose de Delacroix" (1878–80; private collection, London) is based on this painting.
Richard R. Brettell in The New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 195, 204, 213, no. 42, ill. (color), dates it about 1873.
Barbara Paul. "Drei Sammlungen französischer impressionister Kunst im kaiserlichen Berlin - Bernstein, Liebermann, Arnhold." Zeitschrift des Deutschen Vereins für Kunstwissenschaft 42 (1988), pp. 18, 28 n. 60, fig. 6.
Mary Tompkins Lewis. Cézanne's Early Imagery. Berkeley, 1989, pp. x, 204–5, 262 n. 21, colorpl. XVII, suggests that the woman holding a parasol in this picture was derived from the central figure in "La promenade" (1871; private collection, New York; V119, R153), a painting executed after a fashion plate; compares it to Seurat's La Grande Jatte paintings.
Christian Geelhaar in Mary Louise Krumrine. Paul Cézanne: The Bathers. Exh. cat., Museum of Fine Arts. Basel, 1990, pp. 288, 294, fig. 230.
Mary Louise Krumrine. Paul Cézanne: The Bathers. Exh. cat., Museum of Fine Arts. Basel, 1990, p. 244.
Götz Adriani. Cézanne: Gemälde. Exh. cat., Kunsthalle Tübingen. Cologne, 1993, pp. 32, 70, 76, 82, 85–89, 108, 110, 117, 178, 295, 302, 309 n. 18, p. 310 n. 35, p. 311 n. 42, no. 16, ill. (color) [English ed., 1995], calls it "The Fishermen—July Day".
Barbara Paul. Hugo von Tschudi und die moderne französische Kunst im Deutschen Kaiserreich. Mainz, 1993, pp. 204, 385, no. 142, ill., dates it 1873–75.
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 169–70, 197, 563, 566, 568–72, no. 237; vol. 2, p. 78, fig. 237, calls it "Les pêcheurs—Journée de juillet".
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 1, p. 182; vol. 2, p. 72, no. III-HC8, ill. p. 89 (reversed).
Gary Tinterow in "Recent Acquisitions, A Selection: 2001–2002." Metropolitan Museum of Art Bulletin 60 (Fall 2002), p. 31, ill. (color).
Impressionist and Modern Works on Paper. Christie's, London. June 26, 2003, p. 33, under no. 321.
Gary Tinterow 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. 107, 184–85, no. 73, ill. (color and black and white).
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. 843, fig. XII (color).