"French, English, and American Paintings." Metropolitan Museum of Art Bulletin 15 (September 1920), p. 207.
Ambroise Vollard. Renoir, An Intimate Record. New York, 1925, p. 246, dates it 1906.
Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 136–37, ill., dates it about 1894 or 1895.
Julius Meier-Graefe. Renoir. Leipzig, 1929, p. 213, no. 210, ill., dates it 1890.
Samuel A. Lewisohn. "Drama in Painting." Creative Art 9 (September 1931), p. 195, ill. opp. p. 185 (color).
R. H. Wilenski. Modern French Painters. New York, , p. 342, dates it about 1894.
Alfred M. Frankfurter. Renoir, Centennial Loan Exhibition, 1841–1941. Exh. cat., Duveen Galleries. New York, 1941, pp. 83, 155, no. 61, ill., dates it about 1890.
Preface by Edward Alden Jewell in French Impressionists and Their Contemporaries Represented in American Collections. New York, 1944, ill. p. 78 (color), dates it about 1894–95.
John Rewald. The History of Impressionism. New York, 1946, ill. opp. p. 408 (color), dates it about 1895.
Walter Pach. Pierre-Auguste Renoir. New York, 1950, pp. 90–91, ill. (color), dates it about 1890, and states that it recalls Renoir's works of the 1880s, but with a new richness of color.
J. Manet Rouart. Letter to H. B. Wehle. February 18, 1952, states that neither she nor her cousin, Jeannie Gobillard, posed for the painting; suggests that the models were the same as those in "Girls at the Piano"; states that since the landscape seems to be that of Mézy, it may very well be dated about 1891.
Harry B. Wehle. The Metropolitan Museum of Art Miniatures: Figure Paintings by Renoir. 34, Album LF, New York, 1952, unpaginated, ill. (color), tentatively identifies the sitters as Julie Manet [Rouart] and Jeannie Gobillard, daughter and niece of Berthe Morisot; dates it to the summer of 1891, when Renoir visited Berthe Morisot in Mézy.
Bruno F. Schneider. Renoir. Berlin, , p. 45, ill. (color), dates it 1890–94.
Hermann Bünemann. Renoir. Ettal, 1959, pp. 95–96, 214, no. 95, ill. (color), dates it 1890.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 158–59, ill., argue that it is stylistically similar to works of about 1890, rather than to those made around 1895, the period to which it is sometimes dated; state that the soft handling is typical of Renoir's work when he was reacting against exact drawing and the hard forms of his so-called "dry" style.
François Daulte. "Figures." Auguste Renoir: Catalogue raisonné de l'œuvre peint. 1, Lausanne, 1971, unpaginated, no. 610, ill., erroneously states that Durand-Ruel sold the painting on December 10, 1912 to Gordon Edwards [see Ref. House 1985].
Carl R. Baldwin The Metropolitan Museum of Art. The Impressionist Epoch. [New York], 1974, p. 5, dates it about 1890.
John House in Renoir. Exh. cat., Hayward Gallery. [London], 1985, pp. 133, 256–57, no. 85, ill. (color and black and white), dates it about 1890; mentions the confusion between it and another version (Museum of Fine Arts, Boston) when they were both in Durand-Ruel's New York stock; compares the two versions, and believes that they were painted at around the same time and from the same models.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 170–71, ill. (color).
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].
Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd ed. Upper Saddle River, N.J., 2006, p. 425, fig. 17–18 (color), dates it 1890.
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. 242–44, no. 47, ill. p. 243 (color) and on cover (color detail) [Catalan ed., Barcelona, 2006, pp. 132–33, no. 39, ill. (color)], notes that the girls are possibly models from Paris that appear regularly in Renoir's pictures from 1888 to 1892, and that he probably painted it in his studio rather than outdoors; characterizes the soft handling of paint as a rejection of his mid- to late 1880s linear style.