Émile Zola. "Mon Salon, IV. Les Actualistes." L'Evénement illustré (May 24, 1868) [reprinted in Émile Zola, "Salons," ed. F. W. J. Hemmings and Robert J. Neiss, Geneva, 1959, p. 132], admiringly describes a series of garden pictures painted by Monet, probably including this work among the group.
Claude Monet. Letter. April 10, 1913, probably refers to this picture in stating that he would have liked to buy it back in an exchange with Madame Frat but that the price of 30,000 francs was too high and that Monsieur Frat's original offer to him had been only 20,000 francs.
Gustave Geffroy. "Claude Monet." L'Art et les artistes, n.s., 2 (October 1920–February 1921), ill. p. 57.
Arsène Alexandre. Claude Monet. Paris, 1921, p. 35, ill. opp. p. 26.
André Fontainas and Louis Vauxcelles. Histoire générale de l'art français de la Révolution à nos jours. Vol. 1, Paris, 1922, ill. p. 137.
Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, pp. 98, 261, ill. opp. p. 16.
Louis Vauxcelles. "Claude Monet." L'Amour de l'art 3 (August 1922), ill. p. 233.
Camille Mauclair. Claude Monet. London, , p. 41 [French ed., Paris, 1924, p. 35].
Florent Fels. Claude Monet. Paris, 1925, ill. p. 23, dates it 1866.
François Fosca. Claude Monet. Paris, 1927, p. 97.
J.-E. Blanche. "Claude Monet." Revue de Paris (February 1, 1927), p. 571.
Albert Dreyfus. "Claude Monet." Der Cicerone 19 (1927), pp. 60–61, ill.
Raymond Koechlin. "Claude Monet." Art et Décoration 51 (February 1927), p. 36.
Charles Kunstler. L'Art Vivant 3 (September 1, 1927), pp. 676–77, ill.
Raymond Régamey. "La Formation de Claude Monet." Gazette des beaux-arts, 5th ser., 15 (February 1927), pp. 70, 78–79.
Robert Rey. "Claude Monet et l'impressionnisme." L'Art Vivant 3 (January 1, 1927), p. 13, ill. pp. 20–21.
Charles Léger. Claude Monet. Paris, 1930, pl. 2.
Georges Grappe. Monet. Paris, 1941, ill. p. 7.
Maurice Malingue. Claude Monet. Monaco, 1943, pp. 22, 145, ill. p. 45, as in a private collection in Germany; identifies the seated man as Monet's father, Adolphe Monet.
John Rewald. "Monet Serves His Home Village." Art News 44 (May 1–14, 1945), pp. 20–21, ill. (overall and detail).
John Rewald. The History of Impressionism. New York, 1946, p. 134, ill. opp. p. 134 (color).
Aline B. Louchheim. "The Main Line Collects: A Chance to See Philadelphia's Privately Owned Masterpieces." Art News 46 (July 1947), ill. p. 12 (color).
Oscar Reuterswärd. Monet. Stockholm, 1948, p. 281.
Curt Schweicher. Monet. Bern, , pl. 6.
Claude Roger-Marx. Monet. Lausanne, , pl. 6.
Jean Leymarie. Impressionism. Lausanne, 1955, pp. 51–52, ill. (color).
Douglas Cooper and John Richardson. Claude Monet. Exh. cat., Royal Scottish Academy Building. Edinburgh, 1957, pp. 10, 20.
Denis Rouart in Claude Monet. [Lausanne], 1958, pp. 8, 39–40, ill. p. 37 (color detail).
John Canaday. Mainstreams of Modern Art. New York, 1959, p. 186, fig. 208.
Cl. Richebé. "Claude Monet au Musée Marmottan." Académie des Beaux-Arts (1959–60), p. 114.
William C. Seitz. Claude Monet. New York, , pp. 10, 21, 46, 72, 126, ill. p. 73 (color).
Jean-Pierre Hoschedé. Claude Monet: Ce mal connu. Geneva, 1960, pp. 57–58.
John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, pp. 152, 154, ill. p. 153 (color).
Ralph T. Coe. "Consequences of Retinal Sensitivity." Art News 60 (March 1961), p. 40.
C. P. Weekes. Camille, a Study of Claude Monet. 1962, p. 87 [information from old catalogue card].
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 152, relates that Monet at one time showed him a photograph of one of the artist's paintings depicting his father looking out to sea, with a flagpole on either side of the composition, said to be in America, presumably this work; states that Monet sold it for Fr 400 to Pratt, whose widow sold it for Fr 40,000 to Durand-Ruel, from whom Monet wanted to buy it back; adds that Monet mentioned that "at the time this composition was considered very daring".
Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, pp. 89–90, no. 18, ill.
Raymond Cogniat. Monet and His World. London, 1966, pp. 7–8, 131, ill.
Charles Merrill Mount. Monet, a biography. New York, 1966, pp. 142–43, 405, 407, claims that Monet painted this scene from a window; identifies each of the four figures depicted; believes a painting now in the Musée d'Orsay, Paris (W69) to have been the picture included in the fourth Impressionist exhibition of 1879 as no. 157, not this work.
Joel Isaacson. "Monet's Views of Paris." Allen Memorial Art Museum Bulletin 24 (Fall 1966), pp. 13–14, 18, fig. 5.
Joel Isaacson. "The Early Paintings of Claude Monet." PhD diss., University of California, Berkeley, 1967, pp. xi, 144, 158–65, 168–74, 188, 195, 204, 231, 235, 239, 313–15 nn. 21, 28–29, p. 320 n. 31, pl. 50.
René Huyghe. "Monet: The Life and Death of Impressionism." Réalités 202 (September 1967), p. 68.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill., and on cover (color detail).
G. W. "The Sale-Room." Apollo 87 (January 1968), p. 73, colorpl. XII.
William Seitz. "The Relevance of Impressionism." Art News 67 (January 1969), p. 29.
Denys Sutton. Claude Monet: The Early Years. Exh. cat., Lefevre Gallery. London, 1969, p. 12, fig. VI.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 281, 284–85, 300, 302, 305, fig. 4.
François Duret-Robert Preface by René Huyghe in L'Impressionnisme. [Paris], 1971, pp. 303, 306, ill. [excerpt translated and published in White, ed., "Impressionism in Perspective," Englewood Cliffs, N.J., 1978, pp. 99–100, fig. 9], traces the various prices paid for it through the years.
Jean Clay. L'Impressionnisme. [Paris], 1971, p. 146, ill. (color detail), dates it 1866–67.
Kermit Swiler Champa. Studies in Early Impressionism. New Haven, 1973, pp. 13–15, 17–18, 20, 30, pl. 5, dates it late summer 1866.
Everett Fahy in The Wrightsman Collection. Vol. 5, Paintings, Drawings. [New York], 1973, p. 144.
John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, pp. 152–53, ill. (color), dates it about 1867 and states that it was painted on the property of Monet's family, identifying the figure in the right foreground as the artist's father.
Richard J. Boyle. American Impressionism. Boston, 1974, ill. p. 32.
Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, p. 15.
Lydie Huyghe in René Huyghe. La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, p. 114.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 140–44, no. 26, ill. (overall, color, and detail) [French ed., "Centenaire de l'impressionnisme," Paris, 1974], dates it about 1866–67.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840–1881: Peintures. Lausanne, 1974, pp. 38, 47, 164–65, no. 95, ill., dates it summer 1867.
[John House]. "The Roots of the Impressionists." Times Literary Supplement (May 3, 1974), p. 464.
Margaretta Salinger in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan. New York, 1975, pp. 200, 202, 204–6, fig. 53.
Grace Seiberling in Paintings by Monet. Exh. cat., Art Institute of Chicago. Chicago, 1975, pp. 24–25, no. 6, ill. p. 60.
Joel Isaacson. "Studies in Early Impressionism." Art Bulletin 57 (September 1975), pp. 452–53.
Bernard Dunstan. Painting Methods of the Impressionists. New York, 1976, pp. 47, 51, 86, ill. (overall and detail).
Alice Bellony-Rewald. The Lost World of the Impressionists. London, 1976, pp. 62, 106, ill. p. 64, mentions a study for this picture [possibly W96].
Anne Coffin Hanson. Manet and the Modern Tradition. New Haven, 1977, p. 172, dates it 1866.
John House. Monet. Oxford, 1977, pp. 5–6, colorpl. 6, notes that Monet spoke of it as an early example of the influence of Japanese prints on his art.
Jean C. Harris. "Japonisme: Japanese Influence on French Art, 1854–1910." Art Bulletin 59 (September 1977), p. 454.
Maurice Sérullaz in Phaidon Encyclopedia of Impressionism. Oxford, 1978, p. 131.
François Duret-Robert in Maurice Sérullaz. "The Verdict of the Salerooms." Phaidon Encyclopedia of Impressionism. English ed. [French ed., 1974]. Oxford, 1978, p. 255, ill. (photograph of it at Christie's sale, 1967).
Joel Isaacson. Observation and Reflection: Claude Monet. Oxford, 1978, pp. 16, 69, 199–200, pl. 21.
John House. "The New Monet Catalogue." Burlington Magazine 120 (October 1978), p. 681, discusses Wildenstein's [see Ref. 1974] creation of a hypothetical painting (W107) from references in two letters, which House believes concerns this picture.
Robert Herbert. "Method and Meaning in Monet." Art in America 67 (September 1979), pp. 104, 108, ill. pp. 100–101 (color, overall and detail).
Anne Distel. Hommage à Claude Monet (1840–1926). Exh. cat., Galeries Nationales du Grand Palais. Paris, 1980, pp. 56, 99.
Hélène Adhémar. Hommage à Claude Monet (1840–1926). Exh. cat., Galeries Nationales du Grand Palais. Paris, 1980, p. 20.
A Dealer's Record: Agnew's, 1967–81. London, 1981, p. 11, ill. p. 112 (color).
Jacques Dufwa. Winds from the East: A Study in the Art of Manet, Degas, Monet and Whistler 1856–86. Stockholm, 1981, pp. 125–30, 150, 188–90, 206–7 n. 19, fig. 102.
Bogomila Welsh-Ovcharov. Vincent van Gogh and the Birth of Cloisonism. Exh. cat., Art Gallery of Ontario. Toronto, 1981, p. 280, suggests that it is a precedent for Bernard's "Afternoon at St. Briac" (Aargauer Kunsthaus, Aarau, Switzerland), dated 1887.
Robert Gordon and Andrew Forge. Monet. New York, 1983, p. 40, ill. p. 35 (color).
Scott Schaefer in A Day in the Country: Impressionism and the French Landscape. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1984, pp. 58, 62, 66, 68, 88, 211, 217, 224, 280, 365, no. 5, ill. (color) [French ed., "L'impressionisme et le paysage français," Paris, 1985, pp. 46, 48, 53–54, 75, 216, 222, 232, 302, no. 5, ill. (color)].
Barbara Ehrlich White. Renoir: His Life, Art, and Letters. New York, 1984, p. 254.
Andrew Forge. "Voilà mon atelier. A moi!." Aspects of Monet. Ed. John Rewald and Frances Weitzenhoffer. New York, 1984, pp. 98–100, ill. p. 92 (color).
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 108, 110–11, 113, 251, ill. (color).
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 4, 1899–1926: Peintures. Lausanne, 1985, p. 79 n. 726, p. 85.
Charles F. Stuckey, ed. Monet: A Retrospective. New York, 1985, pp. 38, 45, 100, 273, 310, colorpl. 13, quotes various comments, including the incorrect connection of it to a description by Émile Zola and the assertion that it was shown at the Salon of 1865 as "The Terrace at Sainte-Adresse".
Shunsuke Kijima. Monet. Tokyo, 1985, unpaginated, fig. 6 (color).
Michael Clarke. Lighting up the Landscape: French Impressionism and its Origins. Exh. cat., National Gallery of Scotland. Edinburgh, 1986, p. 72.
John House. Monet: Nature into Art. New Haven, 1986, pp. 15–16, 47, 49, 51, 114–15, 136, 188, 235 n. 6, p. 237 n. 22, colorpl. 67, compares the composition to Hokusai's "The Sazaido of the Gohyaku Rakan-ji Temple," of which Monet owned a print, and to Millet's "The End of the Village of Gréville" (Museum of Fine Arts, Boston), exhibited at the 1866 Salon; mentions that Monet removed two additional boats originally included in the scene.
Ronald Pickvance in The New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 259, 265 n. 95, pp. 269, 286, no. 81, ill. (color).
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 6, 8, 30, colorpl. 14.
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 66–67, no. 28, ill. (color).
Douglas Skeggs. River of Light: Monet's Impressions of the Seine. New York, 1987, pp. 34–37, ill. (color).
Robert L. Herbert. Impressionism: Art, Leisure, and Parisian Society. New Haven, 1988, pp. 291–93, fig. 297, comments on the ships, remarking that there are boats representative of both older and newer time periods and that the various nautical vessels illustrate marine commerce and prosperity, as well as the juxtaposition of traditional working life at Sainte-Adresse and the vacation spot it was becoming when this picture was painted; suggests that the view over the English Channel represents Monet's alliance to the modernity of contemporary painters instead of the tradition of academic artists.
Geneviève Lacambre in Le Japonisme. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1988, p. 30, fig. 20, compares The Met's picture to Philipp Franz von Siebold's illustrations of Japanese balconies overlooking the sea.
Geneviève Lacambre and Suzanne Esmein in Le Japonisme. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1988, p. 78.
Francesco Arcangeli. Monet. Bologna, 1989, p. 39, fig. 18.
Paul Hayes Tucker. Monet in the '90s: The Series Paintings. Exh. cat., Museum of Fine Arts, Boston. Boston, 1990, pp. 125, 276 n. 24, fig. 50.
Karin Sagner-Düchting. Claude Monet, 1840–1926: Ein Fest für die Augen. Cologne, 1990, pp. 38, 221, ill. p. 36 (color).
Geneviève Lacambre. "Le Temps du Salon." L'Art du XIXe siècle, 1850–1905. Ed. Françoise Cachin. Paris, 1990, p. 39, fig. 37 (color).
Michael F. Zimmermann. Seurat and the Art Theory of His Time. Antwerp, 1991, p. 108.
Colin B. Bailey 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. 48, 154 n. 5.
Anna G. Barskaya and Albert G. Kostenevich. The Hermitage Catalogue of Western European Painting: French Painting, Mid-Nineteenth to Twentienth [sic] Centuries. Florence, 1991, p. 307.
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 36.
Sylvie Patin. Monet: 'Un Œil... Mais, Bon Dieu, Quel Œil!'. [Paris], 1991, pp. 26–27, ill. (color, overall and details).
John House. Monet. 3rd ed. London, 1991, pp. 8, 11, 32, 40, 50, 62, colorpl. 5, compares it to Hokusai's "Travellers Viewing Mount Fuji," also called "Yoshida on the Tokaido (Tokaido Yoshida)," from "Thirty-six Views of Mount Fuji" (ca. 1830–32), noting that prints from the series were in circulation in Paris in the 1860s.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, pp. 48–49, 59, 83, 87, 144, fig. 45 (color), suggests that the empty chairs represent Monet's feeling of isolation from his family members, who were unhappy with his unmarried relationship with Camille Doncieux.
Chuji Ikegami. New History of World Art. Vol. 22, Period of Impressionism. Tokyo, 1993, fig. 107.
Marianne Alphant. Claude Monet: Une vie dans le paysage. [Paris], 1993, pp. 43–44, 46–48, 169, fig. 12, states that the figures are on the terrace of a sailing club; identifies various members of the Lecadre family among those depicted.
Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 296, 322 [French ed., "Impressionnisme: Les origines, 1859–1869," Paris, 1994].
Gary Tinterow in Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 143, 246–48, 433–34, 436, no. 137, ill. p. 433 and fig. 310 (color) [French ed., "Impressionnisme: Les origines, 1859–1869," Paris, 1994].
Michael Kimmelman. "A Decade that Remade the World in Paint." New York Times (September 25, 1994), section 2, p. 40.
Lynn Federle Orr. "Monet: An Introduction." Monet: Late Paintings of Giverny from the Musée Marmottan. Exh. cat., New Orleans Museum of Art. New Orleans, 1994, pp. 16–17, fig. 2 (color).
Robert L. Herbert. Monet on the Normandy Coast: Tourism and Painting, 1867–1886. New Haven, 1994, pp. 11–14, 16, 28, 34, 73, 108, ill. p. 5 (color detail), fig. 17 (color).
Charles F. Stuckey. Claude Monet, 1840–1926. Exh. cat., Art Institute of Chicago. Chicago, 1995, pp. 33, 204, 245–46, no. 11, colorpl. 11, notes that no review of the 1879 exhibition [see Exh. Paris 1879] mentions it, and suggests that despite its entry in the catalogue, it may not have been shown; dates the Durand-Ruel Gallery exhibition in New York to February 1–16, 1914 [but see Ref. Wildenstein 1974].
Paul Hayes Tucker. Claude Monet: Life and Art. New Haven, 1995, pp. 27–30, colorpl. 38.
Joachim Pissarro. "Monet at the Art Institute of Chicago." Apollo 142 (December 1995), p. 63.
John Russell Taylor. Claude Monet: Impressions of France from Le Havre to Giverny. London, 1995, ill. p. 47 (color).
Michael Kimmelman. "Eclectic Monet, Bathed in Chicago's Ballyhoo." New York Times (July 24, 1995), p. C11.
Richard R. Brettell. "Chicago: Claude Monet, 1840–1926." Burlington Magazine 137 (November 1995), p. 772.
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, p. 132.
Daniel Wildenstein. Monet. Vol. 2, Catalogue raisonné–Werkverzeichnis: Nos. 1–968. 2nd ed. Cologne, 1996, p. 51, no. 95, ill. (color).
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 1, pp. 206, 237; vol. 2, p. 116, ill. p. 135.
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, p. 68, ill. pp. 64–65 (color).
Susanne Weiss. Claude Monet: Ein distanzierter Blick auf Stadt und Land Werke, 1859–1889. Berlin, 1997, pp. 92–93, fig. 29.
Carla Rachman. Monet. London, 1997, pp. 72, 75, fig. 50 (color).
"19th & 20th Century Milestones at Christie's." Christie's ART (1997), unpaginated.
Anne-Marie Bergeret-Gourbin. Monet: La Normandie. Paris, 1997, pp. 20–21, ill. (color), dates it summer 1867.
Joel Isaacson in Impressionists in Winter: Effets de neige. Exh. cat., Phillips Collection. Washington, 1998, p. 77 n. 9.
Matthias Arnold. Claude Monet. Hamburg, 1998, pp. 35, 38, ill.
Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, Pa., 1998, pp. 120, 122, 126, 250 n. 11, fig. 73.
Gian Carlo Calza. Hokusai: Il vecchio pazzo per la pittura. Exh. cat., Palazzo Reale. Milan, 1999, p. 415, fig. 2 (color).
Robert L. Herbert. Seurat: Drawings and Paintings. New Haven, 2001, p. 93.
Virginia Spate and David Bromfield. "A New and Strange Beauty: Monet and Japanese Art." Monet & Japan. Exh. cat., National Gallery of Australia. Canberra, 2001, pp. 5, 15–16, 31, 37, 195, no. 4, ill. pp. 64, 81 (color, overall and detail).
John Leighton in Juliet Wilson-Bareau David Degener. Manet and the Sea. Exh. cat., Art Institute of Chicago. Philadelphia, 2003, pp. 204, 216, pl. 98 (color).
Clare A. P. Willsdon. In the Gardens of Impressionism. New York, 2004, pp. 24, 51, 86–88, 90, 94, 111, colorpl. 87, identifies the specific types of flowers depicted as geraniums, nasturtiums, and gladioli; suggests that Monet may have chosen to paint these particular flowers for their significance based on the nineteenth-century code of floral meanings.
Dominique Lobstein. Monet et Londres. 2004, pp. 8–9, ill. (color).
Lynn Federle Orr in Monet in Normandy. Exh. cat., Fine Arts Museums of San Francisco. New York, 2006, pp. 62–64, 183, no. 6, ill. pp. 1 (color), 63, dates it to the summer of 1867, and from period maps and photographs locates the terrace as previously situated near the modern Alphonse-Karr path.
Doris Kutschbach. Living Monet: The Artist's Gardens. Munich, 2006, pp. 12–13, ill. (color).
Pierre Rosenberg. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006, pp. 178–79, 233, ill. (color).
John House in The Painter's Garden: Design, Inspiration, Delight. Ed. Sabine Schulze. Exh. cat., Städel Museum. Frankfurt, 2006, pp. 196, 198 n. 14, fig. 18 (color), disagrees with Willsdon's [see Willsdon 2004] interpretation of it.
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 119, 125, 128, 137–38, 144, 150 n. 400, fig. 48.
Joseph Baillio and Cora Michael in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 155, 182, 185–86, 214 n. 21, fig. 5 (color).
Katharine Baetjer in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. xi.
Colin B. Bailey 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, p. 60.
James H. Rubin in A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen. Ed. Laurent Salomé. Exh. cat., Musée des Beaux-Arts de Rouen. Paris, 2010, p. 102, ill. (color).
Sylvie Patin in Claude Monet: 1840–1926. Exh. cat., Galeries nationales, Grand Palais. Paris, 2010, p. 221.
Joseph Baillio in Claude Monet: 1840–1926. Exh. cat., Galeries nationales, Grand Palais. Paris, 2010, pp. 55–57, 59 nn. 18, 20, p. 365, no. 17, ill. p. 111 (color), notes that the exact site has yet to be determined; identifies the seated man as Monet's father, the seated woman as perhaps Sophie Perotty, and the standing figures as probably Jeanne-Marguerite Lecadre with either her husband, brother-in-law, or Monet's brother Léon; identifies the painting as one of the works referred to in Zola 1868.
Pierre Wat. "Sur les pas de Monet." Monet: ses sources, ses thèmes, ses héritiers. Issy Les Moulineaux, 2010, p. 75, ill. (color).
Mary Mathews Gedo. Monet and His Muse: Camille Monet in the Artist's Life. Chicago, 2010, pp. 64, 67–70, 198, 247 n. 10, p. 248 nn. 16, 17, p. 275 n. 27, fig. 4.2 (color), presents a psychological interpretation of the painting in regard to Camille's absence from the scene at Sainte-Adresse that summer; identifies the seated woman as Monet's aunt Lecadre.
Sandra Gianfreda. "The early 'Japonistes'." Monet, Gauguin, Van Gogh . . . "Japanese Inspirations" Museum Folkwang. Exh. cat., Museum Folkwang, Essen. Göttingen, 2014, pp. 65, 338 n. 50.
Michael J. Call. Claude Monet, Free Thinker: Radical Republicanism, Darwin's Science, and the Evolution of Impressionist Aesthetics. New York, 2015, pp. 78–79, states that Monet's early Normandy coast pictures, including this one, are painted from the viewpoint of the tourist and that nature is presented as a consumable object existing for the benefit of the humans, who are painted "large in scale and importance".
Anne Roquebert in Degas: Un peintre impressionniste? Ed. Marina Ferretti Bocquillon and Xavier Rey. Exh. cat., Musée des Impressionnismes Giverny. Giverny, 2015, p. 39, fig. 19 (color).
Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 440–41, no. 367, ill. pp. 374, 440 (color).
George T. M. Shackelford in Monet: The Early Years. Exh. cat., Kimbell Art Museum. Fort Worth, 2016, pp. 14, 16, 74, 125, 129, 190 n. 11, fig. 78 (color).
Anthea Callen in Monet: The Early Years. Exh. cat., Kimbell Art Museum. Fort Worth, 2016, pp. 52, 194 n. 15, calls The Met's picture the "apogee [of Monet's] extraordinarily decorative designs during the 1860s".
Anne-Birgitte Fonsmark in Monet: Beyond Impressionism. Exh. cat., Ordrupgaard. Copenhagen, 2016, p. 11, notes its indebtedness to paintings by Monet's role model Eugène Boudin.
Géraldine Lefebvre in Monet au Havre: les Années décisives. Ed. Géraldine Lefebvre. [Vanves], 2016, pp. 53, 55, 57–59, 64–68, 256 n. 2, p. 257 nn. 11–13, 22, ill. p. 52, figs. 35, 47, 111 (color, overall and details), discusses Japanese prints in Monet's collection that may have influenced the picture's composition; drawing on newly found archival evidence, identifies the location depicted as the garden behind the home of Alfred Bodson de Noirefontaine and his wife, friends of the Lecadre-Monet family; proposes a precise dating for the picture as late morning on July 21, 1867, during the annual regattas of Le Havre, which occurred on July 21 and 22 that year.
Ségolène Le Men in Monet au Havre: les Années décisives. Ed. Géraldine Lefebvre. [Vanves], 2016, pp. 165, 167–68, 262–63 n. 55, fig. 144 (color detail), discusses the picture as a kind of possible tribute to Japanese woodblock prints and suggests specific Ukiyo-e print sources.
Anne Distel in Monet au Havre: les Années décisives. Ed. Géraldine Lefebvre. [Vanves], 2016, pp. 209, 265 n. 1, suggests that Victor Frat purchased the picture from Monet around 1867.
Géraldine Lefebvre et al. in Monet au Havre: les Années décisives. Ed. Géraldine Lefebvre. [Vanves], 2016, p. 283.
James H. Rubin in Monet: Light, Shadow, and Reflection. Ed. Ulf Küster. Exh. cat., Fondation Beyeler. Basel, 2017, pp. 26, 32 n. 26, fig. 11 (color).