Ph. Burty. Le Rappel (May 20, 1870) [excerpt reprinted in Ref. Robaut 1905, p. 375], praises this picture.
Camille Lemonnier. Salon de Paris, 1870. Paris, 1870, pp. 176–79, calls it "Étang de Ville d'Avray" and erroneously describes "un bachot qu'un homme dirige à la rame" in the composition.
A[lfred]. de L[ostalot]. "Le Salon de 1870: Œuvres reproduites par 'L'Illustration'"." L'Illustration 55 (May 7, 1870), p. 335, ill. p. 333 (engraving by Pirodon), praises it with reservations.
René Ménard. "Le Salon de 1870 (2e et dernier article)." Gazette des beaux-arts, 2nd ser., 4 (July 1870), p. 54, remarks that this picture is a representation of Corot's vision of nature rather than a realistic depiction.
Marius Chaumelin. "Salon de 1870." La Presse (June 27, 1870), p. 2, prefers it to Corot's other Salon entry, "Paysage avec figures" (R2002; location unknown); describes it with admiration.
Mrs. Schuyler van Rensselaer. "The Wolfe Collection at the Metropolitan Museum. II." Independent 39 (November 24, 1887), p. 8.
"Gallery and Studio: The Metropolitan Museum of Art." Art Amateur 18 (December 1887), p. 7.
Walter Rowlands. "The Miss Wolfe Collection." Art Journal, n.s., (January 1889), p. 13.
L[éon]. Roger-Milès. Les artistes célèbres. Vol. 32, Corot. Paris, , p. 84.
"The Metropolitan Museum of Art—The French Painters." New York Times (May 22, 1895), p. 4.
Theodore Robinson. "Camille Corot." Modern French Masters: A Series of Biographical and Critical Reviews by American Artists. Ed. John C. van Dyke. repr. (1st ed., 1889). New York, 1896, p. 115.
"Louvre of Nations." New York Times (September 17, 1898), p. RBA618.
Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 3, pp. 244–45, no. 2003, ill.; vol. 4, pp. 170, 375, calls it "Ville-d'Avray—L'étang vu à travers la feuillée" and dates it 1870; identifies it as the "Ville d'Avray" shown in the Salon of 1870.
Maurice Hamel. Corot et son œuvre. Paris, 1905, vol. 2, pl. 65, calls it "Bord d'Étang".
Étienne Moreau-Nélaton in Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 1, p. 247 [reprinted in Ref. Moreau-Nélaton 1924].
Frank Fowler. "The Field of Art: Modern Foreign Paintings at the Metropolitan Museum, Some Examples of the French School." Scribner's Magazine 44 (September 1908), p. 383, calls it "Ville d'Avray, near Paris".
"The Mr. and Mrs. Isaac D. Fletcher Collection." Metropolitan Museum of Art Bulletin 13 (March 1918), p. 60, notes its similarity to "A Woman Gathering Faggots at the Ville d'Avray" (MMA 17.120.225).
Étienne Moreau-Nélaton. Corot raconté par lui-même. 2nd rev. ed. (1st ed., 1905). Paris, 1924, vol. 2, p. 37, fig. 217.
François Fosca. Corot, 1796–1875. Paris, 1930, pl. 73, as "Ville d'Avray. Bords de l'étang".
André Coquis. Corot et la critique contemporaine. Paris, 1959, pp. 120–21.
James Merrill in Corot, 1796–1875. Exh. cat., Art Institute of Chicago. Chicago, 1960, p. 15.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 66–67, ill., mention three other similar compositions (MMA 17.120.225; R939; R1229).
Victor Carlson in The Forest of Fontainbleau [sic], Refuge of Reality: French Landscape 1800 to 1870. Exh. cat., Shepherd Gallery. New York, 1972, unpaginated, under no. 17.
Germain Bazin. Corot. 3rd rev. ed. (1st ed., 1942; 2nd ed., 1951). Paris, 1973, p. 272.
Pierre Miquel. Le Paysage français au XIXe siècle. Vol. 2, 1824–1874. Maurs-la-jolie, 1975, p. 52.
Hélène Toussaint in Hommage à Corot: Peintures et dessins des collections françaises. Exh. cat., Orangerie des Tuileries. Paris, 1975, p. 184.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 24, 32, 95, 138, 140, no. 13, ill. p. 138 and colorpl. VIII, states that this picture was among those chosen by the selection committee of the 1883 Pedestal exhibition because they were "modern in technique and intimate in scale and intent"; notes that the inclusion of this and eleven other Corot loans "documented a serious and informed appreciation of Corot on the part of New York collectors in the 1880s".
Mahonri Sharp Young. "Letter from the USA: The Pedestal." Apollo 124 (July 1986), p. 50, colorpl. IX.
Geneviève Matheron. Corot à Ville-d'Avray. Exh. cat., Musée de Ville-d'Avray. Ville-d'Avray, 1987, colorpl. 25, as "L'étang vu à travers la feuillée".
Fronia E. Wissman. "Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design." PhD diss., Yale University, 1989, vol. 1, pp. 188, 205, no. 119, mentions the surface patterning of the trees in this picture as an example of Corot's "entry into the realm of decorative painting," marking a shift from his concern to accurately depict a specific site.
Michael Brenson. "French Landscape Painting, The Seed of Impressionism." New York Times (August 2, 1991), p. C22.
Jean Leymarie. Corot. 3rd ed. (1st ed., 1966). [Geneva], 1992, p. 197, ill. p. 162 (color) [English ed., 1979].
Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. 405 [French ed., "Corot 1796–1875," Paris, 1996, p. 470].
Gary Tinterow in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 346–48, 417, no. 148, ill. (color) [French ed., "Corot 1796–1875," Paris, 1996, pp. 33, 406–7, no. 148, ill. (color)], notes that the figure of the woman was originally accompanied by a small child, painted out before the Salon of 1870, suggesting that the artist judged the second figure too anecdotal or distracting; cites a conservation report on this picture that describes the varied nature of Corot's mature painting technique.
François Fossier et al. "Corot." Connaissance des arts [special exhibition issue for "Corot, 1796–1875"] (1996), p. 63, fig. 56 (color).
Rebecca A. Rabinow. "Catharine Lorillard Wolfe: The First Woman Benefactor of the Metropolitan Museum." Apollo 147 (March 1998), pp. 52, 55 n. 28, states that Wolfe purchased it on January 11, 1881 from Knoedler for $2,700.
Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, 1998, p. 139, fig. 88.
Vincent Pomarède in Corot: Naturaleza, Emoción, Recuerdo. Ed. Vincent Pomarède. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 315, 404.
Gary Tinterow 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. 35, 197, no. 15, ill. (color and black and white).