Auguste Renoir. Letter to Eugène Murer. 1878–90 [published in Ref. Gachet 1957, p. 92], remarks that he may wish to borrow this painting and a portrait of Sisley for his exhibition opening on April 1.
Trublot [Paul Alexis]. "Le Catalogue de la collection Murer." Le Cri du peuple (October 21, 1887) [reprinted in Ref. Gachet 1956, pp. 170–73], lists it among Murer's fifteen paintings by Renoir.
Ambroise Vollard. "Le Salon de Mme Charpentier." L'Art et les artistes 1 (January 1920), ill. p. 168.
Ambroise Vollard. "Renoir et l'Impressionisme." L'Amour de l'art 2 (January 1921), ill. p. 53.
Julius Meier-Graefe. Renoir. Leipzig, 1929, p. 441, no. 153, ill., dates it about 1882.
M.-L. Cahen-Hayem. "Renoir portraitiste." L'Art et les artistes, n.s., 36 (June 1938), pp. 300–302, ill.
Hans Graber. Auguste Renoir. Basel, 1943, p. 64.
John Rewald. The History of Impressionism. New York, 1946, p. 333, ill., calls it "Portrait of the Pastry Cook Eugène Murer" and dates it about 1877; notes that Murer commissioned Renoir and Pissarro to paint portraits of himself and his sister.
Gotthard Jedlicka. Renoir. Bern, 1947, unpaginated, no. 28, ill., dates it 1882.
Lucie and André Chamson. Renoir. Lausanne, 1949, pl. 28, date it 1882.
Paul Gachet. Deux amis des Impressionnistes: Le docteur Gachet et Murer. [Paris], 1956, pp. 159, 172, 175, 187, no. 41, fig. 87, dates it 1877 in the text and 1878 in the caption; notes that it was painted at the rue Voltaire and exhibited for some time in Rouen.
Lettres Impressionnistes. Paris, 1957, p. 92, ill. between pp. 168 and 169, calls it "Eugene Auguste Meunier dit Murer" and dates it 1878.
Edith Hoffmann. "Current and Forthcoming Exhibitions." Burlington Magazine 100 (May 1958), p. 185, comments that the sitter "looks like a highly sensitive artist rather than a restaurateur".
John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, p. 413, ill. p. 415 (color), dates it about 1877.
Henri Perruchot. La Vie de Renoir. [Paris], 1964, p. 139.
Lawrence Hanson. Renoir: The Man, the Painter, and His World. New York, 1968, p. 172.
François Fosca. Renoir. French ed. 1923. New York, [1970?], p. 127.
François Daulte. "Figures." Auguste Renoir: Catalogue raisonné de l'œuvre peint. 1, Lausanne, 1971, pp. 41, 417, no. 246, ill., dates it 1877.
Elda Fezzi. L'opera completa di Renoir. [reprint ed., 1981]. Milan, 1972, pp. 101–2, no. 290, ill.
John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, p. 413, ill. p. 415 (color).
Marianna Reiley Burt. "Découverte: La Pâtissier Murer, un ami des Impressionnistes." L'Oeil no. 245 (December 1975), p. 59, fig. 2 (color).
Anne Distel in Petit Larousse de la peinture. Paris, 1979, vol. 2, p. 1251.
Sophie Monneret. L'Impressionnisme et son époque. Paris, 1979–81, vol. 2, p. 97.
Anne Distel in Renoir. Exh. cat., Hayward Gallery. [London], 1985, p. 22.
Renoir: A Retrospective. New York, 1987, ill. p. 118.
Colin B. Bailey. "La Collection Annenberg." L'Oeil nos. 408–9 (July–August 1989), pp. 42, 45, fig. 1 (color).
Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 207–8, 212, 215, 273, fig. 182 (color).
Colin B. Bailey in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. ix, 34–37, 150–52, ill. (color and black and white), dates it toward the end of 1877; notes that Renoir used this size canvas for informal portraits of his sponsors; observes that Renoir repeated this pose in his portrait of Murer's sister (National Gallery of Art, Washington; D249); states that Renoir was paid Fr 100 for each of the portraits of Murer and his family.
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 36, remarks that it is the first male portrait by Renoir to enter the MMA.
Margaret Fitzgerald Farr. "Impressionist Portraiture: A Study in Context and Meaning." PhD diss., University of North Carolina at Chapel Hill, 1992, p. 156.
Colin B. Bailey in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, pp. 17, 34, 152, under no. 27, p. 291 n. 1, fig. 47 (color), dates it 1878 in the text and 1877 in the caption.
Gabriele Crepaldi. Gli impressionisti. Milan, 2001, p. 180, ill. (color).
Guy-Patrice Dauberville, Michel Dauberville, with Camille Fremontier-Murphy. "1858–1881." Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. 1, Paris, 2007, pp. 534–35, no. 547, ill.
Colin B. Bailey in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 108–14, no. 21, ill. (color).
R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 842, fig. VIII (color).