Harry Graf Kessler. "Deutschland und die Auslandskunst." Deutsche und französische Kunst: Eine Auseinandersetzung deutscher Künstler, Galerieleiter, Sammler und Schriftsteller. 2nd. ed. Munich, , p. 122.
"Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), p. 43, ill., calls it "L'Estaque".
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), pp. 450, 483, calls it "A View near Arles"; suggests that Arthur B. Davies advised Mrs. Havemeyer to purchase her Cézanne paintings.
"The H. O. Havemeyer Collection." Parnassus 2 (March 1930), p. 7, calls it "Vue de l'Estaque," and "one of Cézanne's most complete and mature works".
Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 58.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 56–57, ill., calls it "Landscape-L'Estaque".
Lionello Venturi. "Cézanne." L'arte 6 (July 1935), pp. 302, 386, 391, fig. 15, discusses it in relation to Émile Loubon's painting, "View of Marseilles Seen from the Aygalades" (1853; Musée des Beaux-Arts, Marseilles) [see Ref. Leca 2006].
Douglas Lord. "Paul Cézanne." Burlington Magazine 69 (July 1936), p. 35, dates it 1878.
Charles Sterling in Cézanne. Exh. cat., Musée de l'Orangerie. Paris, 1936, pp. 79–80, no. 43, dates it about 1883; states that L'Estaque is here painted from the viewpoint of Saint-Henry.
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, pp. 53–54, 157, no. 429; vol. 2, pl. 122, no. 429, dates it 1883–85; identifies Notre-Dame de la Garde, Roucas Blanc, and Mont Marseilleveyre in the distance; calls it "une des plus parfaites parmi les vues du Golfe de Marseille: pleine de grâce, de sérénité, du sens de l'universel".
"Cézanne après inventaire." Almanach des Arts (August 1937), p. 249, ill.
Fritz Novotny. Cézanne. Vienna, 1937, pl. 37, calls it "L'Estaque and the Bay of Marseilles" and dates it about 1883.
Robert J. Goldwater. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual, section I (The 1938 Annual), 36 (March 26, 1938), p. 154, discusses it in relation to other paintings of L'Estaque (Museum of Modern Art, New York, V492, R443; Art Institute of Chicago, V493, R626; and private collection, New York, V405, R519).
Fritz Novotny. Cézanne und das Ende der Wissenschaftlichen Perspektive. Vienna, 1938, p. 44 n. 38, p. 193.
Albert C. Barnes and Violette De Mazia. The Art of Cézanne. New York, 1939, pp. 342–43, 412, no. 101, call it "View of Estaque" and date it mid-1880s.
A Treasury of Art Masterpieces, from the Renaissance to the Present Day. New York, 1939, pp. 529–31, colorpl. 129.
R. H. Wilenski. Modern French Painters. New York, , p. 76, pl. 20B, dates it about 1884.
Erle Loran. Cézanne's Composition: Analysis of His Form with Diagrams and Photographs of His Motifs. [2nd ed., 1946]. Berkeley, 1943, p. 58.
Lionello Venturi. Painting and Painters: How to Look at a Picture, from Giotto to Chagall. New York, 1945, p. 185, fig. 42, calls it "The Gulf of Marseilles" and compares it to Pissarro, "Oise River near Pontoise" (1873; Sterling and Francine Clark Art Institute, Williamstown).
Introduction by Harry B. Wehle. Masterpieces in Color at The Metropolitan Museum of Art, New York. New York, 1945, p. 15, colorpl. LVII, dates it about 1883.
Bernard Dorival. Cézanne. [English ed., 1948]. Paris, 1948, pp. 52–54, 72, 156–57, pl. 75, dates it 1883–85 and calls it the masterpiece of the L'Estaque series; compares it to "La Mer à L'Estaque" (Musée Picasso, Paris; V425, R395).
Fritz Novotny. Cézanne. New York, 1948, pl. 35, calls it "L'Estaque and the Bay of Marseilles" and dates it about 1883.
Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, pp. 88–92, 95–96, 102, fig. 17, dates it 1883–85; compares it to landscapes by Ambrogio Lorenzetti.
Lionello Venturi. Impressionists and Symbolists. 2, New York, 1950, pp. 132–33, fig. 130, calls it "The Bay of Marseilles, seen from L'Estaque".
Daniel Catton Rich in Cézanne: Paintings, Watercolors & Drawings. Exh. cat., Art Institute of Chicago. [Chicago], 1952, pp. 48–49, no. 49, ill., calls this picture "a suavely balanced composition" in comparison to the "highly dramatic simplification" of the similar painting in the Art Institute of Chicago (V493, R626).
Lionello Venturi. Four Steps Toward Modern Art: Giorgione, Caravaggio, Manet, Cézanne. New York, 1956, pp. 70–72, ill. (frontispiece), compares it to "Houses in Provence" (National Gallery of Art, Washington; V397, R438).
Robert William Ratcliffe. "Cézanne's Working Methods and Their Theoretical Background." PhD diss., University of London, 1960, p. 44, based on the similarity of its color to the Gardanne series, dates this picture to either of Cézannes trips to L'Estaque, from November 1883 to February 1884 or in early 1885.
Lorenz Dittmann. "Zur Kunst Cézannes." Festschrift Kurt Badt zum siebzigsten Geburtstage. Berlin, 1961, p. 207, fig. 6.
Jay M. Kloner in Cézanne Watercolors. Exh. cat., M. Knoedler & Co. New York, 1963, p. 29, under no. 15, relates it to a watercolor depicting the same portion of L'Estaque and the Bay of Marseilles (Museum Boymans van Beuningen, Rotterdam; RWC116).
George Heard Hamilton. Painting and Sculpture in Europe: 1880 to 1940. Baltimore, 1967, pp. 20–21, pl. 8B, dates it 1883–85.
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. 105–6, ill., date it probably about 1883–85; state that although it bears a superficial resemblance to the L'Estaque paintings in Chicago (V493, R626) and the Musée d'Orsay, Paris (V428, R390), ours is much more detailed.
Richard W. Murphy et al. The World of Cézanne: 1839–1906. New York, 1968, pp. 127, 152, ill. (color), dates it 1883–85.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill., dates it about 1884, and states that "the geometric shapes of the houses foreshadow his views of Gardanne" [see MMA 57.181].
Chuji Ikegami. Cézanne. Tokyo, 1969, p. 122, no. 28, ill. (color and black and white).
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, p. 105, no. 422, ill.
Adrien Chappuis. The Drawings of Paul Cézanne: A Catalogue Raisonné. Greenwich, Conn., 1973, vol. 1, p. 120, under no. 338, mentions it in relationship to a pencil drawing which includes a study of the same hills near Marseilles (formerly collection Mr. and Mrs. Leigh Block, Chicago).
John Rewald. "The Impressionist Brush." Metropolitan Museum of Art Bulletin 32, no. 3 (1973/1974), pp. 37–38, 41, no. 24, ill. (overall and color detail), dates it about 1885.
Carl R. Baldwin The Metropolitan Museum of Art. The Impressionist Epoch. [New York], 1974, p. 17.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 59–63, no. 8, ill. (color, overall and detail) [French ed., "Centenaire de l'Impressionnisme," Éditions des musées nationaux, Paris, 1974], dates it about 1884–86.
William Gaunt. Marine Painting: An Historical Survey. London, 1975, p. 204, fig. 225, dates it 1883–85.
Liliane Brion-Guerry in Cézanne: The Late Work. Exh. cat., Museum of Modern Art. New York, 1977, p. 76 [French ed., "Cézanne: les dernières années (1895–1906)," Paris, 1978, p. 18].
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 430, fig. 787 (color), dates it about 1883–85.
Judith Wechsler. The Interpretation of Cézanne. Ann Arbor, Mich., 1981, p. 50.
John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 112, under no. 116.
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. 306, 363, no. 128, ill. p. 310 (color) [French ed., "L'impressionisme et le paysage français," RdMN, Paris, 1985, pp. 330, 332, no. 128, ill. (color)], dates it 1883–85.
Richard Shiff. Cézanne and the End of Impressionism. Chicago, 1984, pp. 116–17, 119, 121, fig. 27, dates it about 1883–85.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 10, 188–89, 253, ill. (color), calls it more complex than the Chicago and Orsay paintings (V493, R626; V428, R390).
John Rewald. Cézanne: A Biography. New York, 1986, p. 276, ill. p. 155, dates it about 1885.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 256.
Gary Tinterow et al. "Modern Europe." The Metropolitan Museum of Art. 8, New York, 1987, pp. 6, 49, colorpl. 30, date it about 1878–82, noting that more than a dozen related works of this view exist from the 1880s; compare Cézanne's working methods in this series to those of Pissarro and Monet.
Sidney Geist. Interpreting Cézanne. Cambridge, Mass., 1988, pp. 121–22, 248, 283, pl. 104, dates it 1883–85; analyzes this composition in terms of Cézanne's relationships with his mother and wife.
Cézanne by Himself: Drawings, Paintings, Writings. London, 1988, ill. p. 134 (color), dates it about 1883–85.
John Rewald with the research assistance of Frances Weitzenhoffer. Cézanne and America: Dealers, Collectors, Artists and Critics, 1891–1921. The A. W. Mellon Lectures in the Fine Arts, Princeton, 1989, pp. 125, 128 n. 44, pp. 311, 347, fig. 69.
Hajo Düchting. Paul Cézanne 1839–1906: Natur wird Kunst. [Engl. ed., 1999]. Cologne, 1990, p. 104, ill. p. 12 (color).
Richard Verdi. Cézanne and Poussin: The Classical Vision of Landscape. Exh. cat., National Gallery of Scotland. Edinburgh, 1990, p. 153.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 303–4, no. A75, ill., states that it was possibly bought by the Havemeyers through Vollard.
Maria Teresa Benedetti. Cézanne. [Italian ed., 1995]. Paris, 1995, pp. 124, 149, ill. (color), dates it 1883–85.
Walter Feilchenfeldt in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 574 [French ed., Paris, 1995].
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 17, 412, 568, 570–72, no. 625, colorpl. 50; vol. 2, p. 211, fig. 625, dates it about 1885 and notes that the square tower at the lower right, La Tour Sommati, was destroyed toward the end of the nineteenth century.
Joseph J. Rishel in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 225, fig. 1 [French ed., Paris, 1995], dates it 1884; tentatively identifies the tall tower on the right as the Tour Sommati.
Maria Teresa Benedetti. Cézanne: il padre dei moderni. Exh. cat., Complesso del Vittoriano. Milan, 2002, pp. 27, 150–51, ill. (color).
Philip Conisbee in Philip Conisbee and Denis Coutagne. Cézanne in Provence. Exh. cat., National Gallery of Art. Washington, 2006, p. 15.
Denis Coutagne. Cézanne en vérité(s). [Arles], 2006, pp. 422–23.
Robert Jensen in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Exh. cat., The Metropolitan Museum of Art. New York, 2006, pp. 41, 46 n. 76, p. 47 n. 88 [French ed., "De Cézanne à Picasso: Chefs-d'oeuvre de la galerie Vollard," Paris, 2007, pp. 54, 57 nn. 76, 88], states that the Havemeyers bought this work from Vollard before 1900, possibly in 1898; notes that this work shows signs of once having been rolled and therefore may have been included in Vollard's first Cézanne exhibition.
Benedict Leca in Philip Conisbee and Denis Coutagne. Cézanne in Provence. Exh. cat., National Gallery of Art. Washington, 2006, p. 55, considers Loubon's "View of Marseilles Seen from the Aygalades" (1853; Musée des Beaux-Arts, Marseilles) a prototype for this picture [see Ref. Venturi 1935].
Véronique Serrano in Philip Conisbee and Denis Coutagne. Cézanne in Provence. Exh. cat., National Gallery of Art. Washington, 2006, pp. 134–35, 319, no. 49, colorpl. 49, calls this picture and the Chicago version (V493, R626) "undoubtedly the most harmonious works Cézanne produced at L'Estaque".
Jayne S. Warman in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 340 n. 3, under no. 36, identifies this picture among the seven Cézannes shipped to the Havemeyers by Vollard on June 5, 1901.
Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 111, 185–86, no. 77, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 127, 220–21, no. 116, ill. (color and black and white).
Anabelle Kienle in Cézanne and Beyond. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2009, p. 317, ill. p. 319 (color), notes that this painting is present as an "indirect mediation" in Beckmann's "Seascape with Agaves and Old Castle" (1939; Staatliche Museen zu Berlin, Nationalgalerie).
Emily Schuchardt Navratil in Gail Stavitsky and Katherine Rothkopf. Cézanne and American Modernism. Exh. cat., Montclair Art Museum. Montclair, 2009, p. 361.
Katherine Sachs in Cézanne and Beyond. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2009, p. 442, colorpl. 164, quotes Ellsworth Kelly's remarks about the indirect influence of the blue in this painting on several of his works.
Michael R. Taylor in Cézanne and Beyond. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2009, p. 559 n. 31.
Jayne S. Warman in Gail Stavitsky and Katherine Rothkopf. Cézanne and American Modernism. Exh. cat., Montclair Art Museum. Montclair, 2009, p. 88 n. 34.