Joan Miró. Letter to Pierre Loeb. November 7, 1927 [Archive Albert Loeb, Paris; excerpt published in English transl. in Ref. Beaumelle 2004, p. 333], describes this picture, soon to be finished, as "one of my best in several years".
L'Amic de les arts 3 (June 30, 1928), ill. p. 201.
Francesc Trabal. "Una Conversa amb Joan Miró." La Publicitat 50 (July 14, 1928), p. 4 [English transl. published in Ref. Rowell 1986, pp. 92–98], remarks that he painted seven large canvases in the summer of 1927 at Montroig; states that out of the forty-one paintings exhibited at the Galerie Georges Bernheim in May 1928, Pierre Loeb reserved a dozen for himself [including this painting], and that all the rest were sold.
Joan Miró. Letter to Josep Francesc Ràfols. February 7, 1928 [published in Ref. Ainaud de Lasarte 2009, pp. 336–37, letter no. 221; excerpt published in English transl. in Refs. Umland 1993, p. 326, Beaumelle 2004, p. 334], remarks that he wishes Ràfols could see his recent large canvases painted in Montroig [including this picture] but is afraid that once they are in Barcelona, already rolled, it will not be safe to unpack them.
E. Tériade. "Documentaire sur la jeune peinture, IV: La réaction littéraire." Cahiers d'art 5, no. 2 (1930), ill. p. 84, as "Paysage".
H[enry]. McB[ride]. "Attractions in the Galleries." Sun (January 18, 1936), p. 16.
Mary Morsell. "Matisse Display Vividly Reveals Modern Trends: Large Works by Eight Moderns Found in Notable Exhibition Ranging from Cubist Theory to Sheer Romanticism." Art News 34 (January 18, 1936), p. 5.
Elisabeth Luther Cary. "Paintings by Some of Our Older Modernists." New York Times (January 19, 1936), p. X9.
Dictionnaire abrégé du Surréalisme. Paris, 1938, ill. p. 49, as "Paysage".
Georges Hugnet. Surréalistische Schilderkunst: Inleiding bij de Internationale Tentoonstelling van het Surréalisme gehouden in de Galerie Robert Keizersgracht 527 te Amsterdam. Exh. cat., Galerie Robert. Amsterdam, 1938, fig. 7, as "Paysage".
Edward Alden Jewell. "Unusual Art Show Opens at Museum." New York Times (April 2, 1947), p. 34.
T[homas]. B. H[ess]. "Spotlight on: Miró." Art News 47 (April 1948), p. 33.
Howard Devree. "By Contemporaries: New Shows Give Long-Term Perspective On Picasso, Miro and Lasar Segall." New York Times (March 21, 1948), p. X8.
Jo Gibbs. "Surrealist Period Miró for Miró Fans." Art Digest 23 (May 1, 1949), p. 17, ill.
Clement Greenberg. Joan Miró. rev. ed. [1st ed., 1948]. New York, 1950, p. 130, pl. XVIII, locates it in the Pierre Matisse Gallery, New York.
William Rubin. "Miró in Retrospect." Art International 3, nos. 5–6 (1959), p. 37, notes that this picture has been on exhibit at the New Gallery [note in archive file: according to E. V. Thaw, the work hung in the New Gallery, but not in an exhibition].
Hilton Kramer. "Month in Review." Arts 33 (May 1959), p. 49, remarks that this painting "which the New Gallery has been showing, might well have been included" in the current MoMA Miró retrospective.
Katharine Kuh. Signposts of Twentieth Century Art. Exh. cat., Dallas Museum for Contemporary Arts. [Dallas], , pp. 40–41, ill.
Jacques Dupin. Joan Miró: Life and Work. New York,  (French ed., 1961), pp. 175, 178, 180, 515, no. 182, ill., notes that Miró painted seven large paintings each during the summers of 1926 and 1927 in Montroig, all of which were exhibited at Georges Bernheim's gallery in 1928 [five landscapes and two figures in 1926: nos. 172–178; six landscapes and one figure in 1927: nos. 179–185].
Roland Penrose. Joan Miró. Exh. cat., Tate Gallery. London, 1964, p. 27, no. 72, pl. 13b.
Yves Bonnefoy. Miró. New York, 1967, pl. 23.
William S. Rubin. Dada and Surrealist Art. New York, 1968, pp. 160, 477, fig. 136.
Giuseppe Marchiori. "Miró through the Years." Homage to Joan Miró. Ed. G[ualtieri]. di San Lazzaro. New York, 1972, ill. p. 33, as "Landscape".
William Rubin. Miró in the Collection of the Museum of Modern Art. New York, 1973, pp. 37, 118 n. 1.
Angelica Zander Rudenstine. The Guggenheim Museum Collection: Paintings 1880–1945. Vol. 2, New York, 1976, p. 525.
Margit Rowell, ed. Joan Miró: Selected Writings and Interviews. Boston, 1986, pp. 96, 312 n. 8 [revised French ed., Paris, 1995, pp. 108, 330 n. 9], identifies this painting among the seven large canvases mentioned by Miró as having been executed in the summer of 1927 [Ref. Trabal 1928].
Sabine Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 180–82, 307, ill. (color and bw), considers it the most ambiguous of the 1927 imaginary landscapes.
William S. Lieberman in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 14, fig. 3 (color, installation photo).
Jacques Dupin in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 49.
Dawn Ades in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 42.
Harry Bellet in Joan Miró: Rétrospective de l'œuvre peint. Ed. Jean-Louis Prat. Exh. cat., Fondation Maeght, Saint-Paul-de-Vence. Paris, 1990, pp. 72–73, 200, no. 30, ill. (color).
Victoria Combalía in Joan Miró Centennial Exhibition: The Pierre Matisse Collection. Exh. cat., Yokohama Museum of Art. [Tokyo], 1992, p. 187.
Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1993, pp. 49, 53, 80 n. 185, ill. p. 161 (color), dates it late July–December 1927; notes that "Painting (Untitled; The Bullfighter)" (1927; Musée d'Art Moderne, Villeneuve d'Ascq; DL 1999, no. 257) has been inserted into the upper left corner of this picture; asserts that the fourteen large paintings of the summers of 1926 and 1927 were all landscapes [see Ref. Dupin 1962].
Anne Umland in Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art, New York. New York, 1993, pp. 325–26.
Lilian Tone in Carolyn Lanchner. Joan Miró. Exh. cat., Museum of Modern Art. New York, 1993, p. 389, no. 71, ill.
Isabelle de Wavrin. "L'Œil infaillible de Jacques Gelman." Beaux Arts no. 125 (July-August 1994), pp. 46–47, ill. (color).
Patrick-Gilles Persin. "La Collection Jacques et Natasha Gelman." L'Œil no. 465 (October 1994), pp. 49–50, ill. (color).
Jacques Dupin and Ariane Lelong-Mainaud. Joan Miró: Catalogue raisonné. Paintings. Vol. 1, 1908–1930. [Paris], 1999, p. 171, no. 224, ill. (color), note that this work is signed, titled, and dated on the verso, but that these inscriptions are no longer visible because it was relined.
Roberta Smith. "In a Brash Yet Refined School, Everyone Belongs Together." New York Times (June 15, 2001), p. E37.
Agnès de la Beaumelle in Joan Miró, 1917–1934. Ed. Agnès de la Beaumelle. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 2004, pp. 331–34, 336–38, fig. 3 (p. 336) [installation photo of Exh. Paris 1928], fig. 2 (p. 339) [reproduction of Ref. Trabal 1928].
Rémi Labrusse. Miró: Un feu dans les ruines. Paris, 2004, pp. 105, 108, 190, 199, 211–12, fig. 17 (color).
Tomàs Llorens. Miró: Earth. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2008, pp. 80, 82–85, 91, fig. 19 (color), calls it the first and most complex of the six large-scale landscapes of summer 1927.
Joan Ainaud de Lasarte et al., ed. Epistolari Català Joan Miró: 1911–1945. Vol. 1, Barcelona, 2009, pp. 336–37.
Karen Wilkin. "Miró's 'Dutch Interiors'." New Criterion 29 (November 2010), p. 42.
Jacques Dupin. Miró. [1st ed., 1993]. Paris, 2012, pp. 131, 133, 138, fig. 138 (color).