Dusk, Monte Mario, Rome

Inscription: Label inscribed with the artist's signature (upper right): Granet

the artist, Aix-en-Provence (until d. 1849; bequeathed to Martin); Baptistin Martin, Aix-en-Provence (1849–d. 1901); possibly G[...]in Martin; [Talabardon & Gautier, Paris, by 2002; sold to Thaw]; Eugene V. Thaw, New York (by 2007–9)

Paris. Talabardon & Gautier. "Le paysage français de Valenciennes à Bonington," September 18–October 26, 2002, no. 9 (as "Crépuscule sur le Monte Valerio").

New York. Morgan Library & Museum. "Studying Nature: Oil Sketches from the Thaw Collection," January 23–August 30, 2009, unnum. checklist (as "Dusk, Monte Valerio, Rome").

New York. Morgan Library & Museum. "City of the Soul: Rome and the Romantics," June 17–September 11, 2016, no. 40.

Bertrand Talabardon and Bertrand Gautier. Le paysage français de Valenciennes à Bonington. Exh. cat., Talabardon & Gautier. Paris, 2002, unpaginated, no. 9, ill. (color), identify the motif as Monte Valerio, Rome, based on comparison with two oil sketches thus inscribed (Musée Granet, Aix-en-Provence, inv. 849-1-G.148 and 849-1-G.82); state that in such works Granet transcends the lexicon for landscape sketching established by Pierre-Henri de Valenciennes; note that the application of paint here coincides with Granet's initial forays into watercolor, which supports the date of 1804 inscribed on the verso.

Asher E. Miller in "Recent Acquisitions, A Selection: 2008–2010." Metropolitan Museum of Art Bulletin 68 (Fall 2010), pp. 47–48, ill. (color).

Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, p. 127, no. 78, ill. (color), calls it "Dusk, Monte Mario, Rome" and dates it 1804.

Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), p. 22, fig. 24 (color).

John A. Pinto. City of the Soul: Rome and the Romantics. Exh. cat., Morgan Library & Museum. New York, 2016, pp. 120–21, 184, no. 40, ill. (color), notes that the view was beloved by landscape painters such as Nicolas-Didier Boguet; states that Granet depicted the same site on a number of occasions; identiifes the trees as umbrella pine and cypress; remarks on Valenciennes's influence and the image's similarity to the voice Granet gives to nature in his memoirs.