Fritz Burger. Cézanne und Hodler: Einführung in die Probleme der Malerei der Gegenwart. Munich, 1913, vol. 1, pp. 95–96, vol. 2, pl. 83, calls it "Landschaft".
Loan Exhibition of Impressionist and Post-Impressionist Paintings. Exh. cat., The Metropolitan Museum of Art. New York, 1921, p. 12, states that our painting was done in 1892 upon Gauguin's return from his first trip to Tahiti.
Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 157–59, ill., calls it "Landscape" and notes that it is signed.
Modern Works of Art. Exh. cat., Museum of Modern Art. New York, 1934, pp. 12, 23, no. 11, pl. 11, calls it both "Farm" and "Landscape" and dates it about 1889.
Paul Gauguin: Exhibition of Paintings and Prints. Exh. cat., San Francisco Museum of Art. San Francisco, 1936, p. 15, no. 2, fig. 2, calls it "Landscape" and suggests that it was painted in France about 1886.
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, p. xii, 60, 62, ill., calls it "Brittany Landscape," in the Lewisohn collection.
A Loan Exhibition of Paul Gauguin. Exh. cat., Wildenstein & Co., Inc. New York, 1946, p. 63, no. 9, calls it "Landscape, Brittany" and dates it about 1889.
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. rev. ed. [1st ed. 1937]. New York, , pp. 60, 62, ill.
Henri Perruchot. Gauguin: Sa vie ardente et misérable. Paris, 1948, ill. opp. p. 80, calls it "Paysage de Bretagne (1894)" and erroneously states that it is in the Hugo Perls collection.
Claus Virch and Samuel J. Wagstaff Jr. in Gauguin: Paintings, Drawings, Prints, Sculpture. Exh. cat., Art Institute of Chicago. Chicago, 1959, p. 56, no. 59, suggest that 1894 seems a better date than 1889.
Georges Wildenstein. Gauguin. 1, French ed. [English ed. 1965]. Paris, 1964, pp. 215–16, no. 526, ill., calls it "Farm in Brittany I" and dates it 1894 based on comparison with two paintings signed and dated 1894, "Breton Girl Praying" (W518; Mr. and Mrs. Jacob Blaustein, Baltimore) and "Farm in Brittany II" (W527; private collection).
Ronald Pickvance. Gauguin and the Pont-Aven Group. Exh. cat., Tate Gallery. London, 1966, p. 26, no. 40, states that the other painting of this subject ("Farm in Brittany II"; W527, private collection) shows part of the same motif, and that both "bear the stamp of Gauguin's experience in Tahiti".
Ronald Pickvance. Letter to Claire Weaver. March 17, 1966, notes that he found the name "Ed. Simon-Wolfskehl" on a photocopy of this painting in the Witt Library, but that he knows nothing further about him.
Douglas Cooper. Letter to Charles Moffett. April 2, 1980, judging from a transparency, observes that this painting is perfectly authentic, noting that its style is consistent with "Le Moulin David," "Paysan et son Chien," and "Vue de Pont-Aven" (formerly Clifford Michel, New York); states that the painting is definitely of Pont Aven and suggests that it shows the area near Gauguin's studio of 1888–89 with the village to the left; adds that the signature is unquestionably that of Gauguin; mentions that W528 (E. V. Thaw collection) is a fake derived from this picture.
Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 86–87, no. 30, ill. (color).
Pierre Daix. Paul Gauguin. [Paris], 1989, p. 265.
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D, ill. p. 1D.
Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I, ill. p. 1I.
Denise Delouche in Paul Gauguin, von der Bretagne nach Tahiti: Ein Aufbruch zur Moderne. Exh. cat., Landesmuseum Joanneum, Graz. Tulln, 2000, pp. 212–13, no. 32, ill. (color).
Rebecca A. Rabinow. "Modern Art Comes to the Metropolitan: The 1921 Exhibition of 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), p. 10.
Colta Ives in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 219, no. 18, ill. p. 35 (color), dates it probably 1894.
Susan Alyson Stein in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 166–68, 230, fig. 64 (installation photo).
André Cariou in L'Aventure de Pont-Aven et Gauguin. Exh. cat., Musée du Luxembourg, Paris. Milan, 2003, pp. 306–7, 314–15, no. 117, ill. (color, overall and detail) [Italian ed., pp. 214–15, 220–21, no. 77, ill. (color, overall and detail)], dates it 1894, based on the work of the same title, depicting the same subject, dated 1894 (W527; sold Christie's, New York, 1880, no. 16); calls it "Ferme en Bretagne" and states that the location is within Pont-Aven but has never been precisely identified; compares it with other paintings with similar motifs.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 22 [Catalan ed., Barcelona, 2006, p. 19].
Kathryn Calley Galitz in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 246–48, no. 48, ill. (color) [Catalan ed., Barcelona, 2006, pp. 134–35, no. 40, ill. (color)].
Kathryn Calley Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 163, 251, no. 152, ill. (color and black and white).
Impressionist & Modern Art: Evening Sale. Sotheby's, London. February 5, 2007, p. 129, under no. 60, fig. 3 (color).