Nineteenth and early Twentieth Century Drawings and Oil Sketches. Exh. cat., Hazlitt, Gooden & Fox. London, 1998, unpaginated, no. 37, ill. (color), states that the influence of Pierre-Henri de Valenciennes "is very apparent" in this sketch and suggests that it may be related to Denis's "View on the Quirinal Hill, Rome" (now MMA 2003.42.20).
Anna Ottani Cavina. Paysages d'Italie: Les peintres du plein air (1780–1830). Exh. cat., Galeries Nationales du Grand Palais. Paris, 2001, p. 131, no. 84, ill. (color), observes that the imbalance between land and sky recalls similar works by Valenciennes.
Valentina Branchini. "Simon Denis (1755–1813) in Italia: Dipinti e Disegni di Paesaggio." PhD diss., Università di Bologna, 2002–3, pp. 16–17, 118–21, no. 47, ill.
Cara Dufour Denison in The Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994. Exh. cat., Pierpont Morgan Library. New York, 2002, pp. 162–63, no. 73, ill. (color).
Charlotte Gere in Plein-Air Painting in Europe, 1780–1850. Exh. cat., Shizuoka Prefectural Museum of Art. Shizuoka, 2004, pp. 42–43, no. 7, ill. (color).
Henk van Os. Dreaming of Italy. Exh. cat., Royal Picture Gallery Mauritshuis, The Hague. Zwolle, The Netherlands, 2006, pp. 82–83, 124, no. 13, fig. 26 (color), dates it about 1790.
Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 116, no. 44, ill. (color), calls it "Sunset, Rome".
Ann Hoenigswald. "Manipulating Paint: The Shorthand of Plein-Air Technique." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 16, fig. 13 (color detail).
John House. "Impressionism and the Open-Air Oil Sketch." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 86.
Geneviève Lacambre. "Two Series of Studies in Oil on Paper Numbered by Pierre-Henri de Valenciennes and Simon Denis." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, pp. 74, 81, no. 54, calls it "Sunset in Rome" and deduces that the number 54 on the verso situates it within the range of works similarly inscribed 38 through 74, whose primary motif is the sky.