Théophile Gautier. "Salon de 1869." L'Illustration 53 (June 5, 1869), p. 364 [reprinted in "Tableaux à la plume," Paris, 1880, p. 312], praises its naïveté and color, but criticizes the faulty drawing of the figure; notes the rarity of a figure dominating the landscape in Corot's work.
Ernest Hache. "Salon de 1869." Les Merveilles de l'art et de l'industrie: Antiquité, moyen age, renaissance, temps moderne. Paris, , p. 298.
L[éon]. Roger-Milès. Les artistes célèbres. Vol. 32, Corot. Paris, , p. 84.
Ethel Birnstingl and Alice Pollard. Corot. London, 1904, pp. 168, 179.
Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 3, pp. 114–15, no. 1563, ill.; vol. 4, pp. 170, 375, calls it "Une Liseuse dans la campagne" and dates it 1868–69; reproduces a photograph of the original composition with trees on both sides of the background, erroneously stating that this is its present state; erroneously describes the lithograph by Émile Vernier [which was made after Corot painted out the trees] as depicting the original composition [see Refs. Burroughs 1928, Ivins 1928].
Étienne Moreau-Nélaton in Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 1, p. 243 [reprinted in Ref. Moreau-Nélaton 1924].
E[tienne]. Moreau-Nélaton. "Les Figures de Corot." L'Art et les artistes 2 (1905–6), p. 69, ill. p. 70.
"Senff Art Works Costly." New York Times (October 22, 1912), p. 22, notes that it has been appraised by Durand-Ruel at $5,000.
Étienne Moreau-Nélaton. Corot. Paris, 1913, p. 84, remarks upon its "humanité très moderne, s'écartait des ses contemporaines par une certaine bizarrerie d'accoutrement".
Étienne Moreau-Nélaton. Corot raconté par lui-même. 2nd rev. ed. (1st ed., 1905). Paris, 1924, vol. 2, p. 35, fig. 212 (original composition).
Bryson Burroughs. "Woman Reading in the Fields, by Corot." Metropolitan Museum of Art Bulletin 23 (June 1928), pp. 154–56, figs. 1 (original composition), 2, calls it "Woman Reading in the Fields"; praises it as the first figure painting by Corot to enter the MMA collection, commenting that the artist spent one week of each winter month painting models in his studio; reproduces the painting before and after Corot's alterations, noting that the underpainting is visible and that the changes were obviously made by the artist himself, thus correcting Robaut's [Ref. 1905] reversal of the two versions.
William M. Ivins Jr. Letter to Bryson Burroughs. 1928, states with certainty that Corot painted out the trees in this picture sometime before the end of 1870 since the photograph of its original state was accessioned by the Cabinet [d'estampes, Bibliothèque Nationale de France] in 1869 and the lithograph by Vernier showing its altered state was accessioned in 1870.
"Smaller Paintings of Masters on Sale." New York Times (March 18, 1928), p. 31, states that it was bought from Boussod, Valadon in 1894 and sold by Knoedler to Senff in 1895.
"$580,375 is Total at Senff Art Sale." New York Times (March 30, 1928), p. 20, notes that Senff paid $4,000 for this painting in 1895 and that it sold for $31,000 to his niece, Louise Senff Cameron, at his estate sale, fetching the highest price of the evening.
"Senff Corot Goes to Metropolitan." New York Times (June 11, 1928), p. 12.
C. Bernheim de Villers. Corot: Peintre de figures. Paris, 1930, p. 34, no. 262, ill. (original composition), calls it "Une liseuse dans la campagne" and dates it 1868–69; notes that it is one of only three figure paintings that Corot showed at the Salon [see Ref. Tinterow 1996].
Preface by Paul Jamot in Exposition Corot. Exh. cat., Musée de Lyon. Lyons, 1936, p. 43, no. 94, calls it "Liseuse dans la campagne" and dates it about 1868–69.
Paul Jamot. Corot. Paris, 1936, ill. on title page, dates it 1868–69.
Alexander Watt. "Notes from Paris." Apollo 23 (April 1936), p. 226, ill.
Preface by Paul Jamot in Corot. Exh. cat., Musée de l'Orangerie. [Paris], 1936, pp. 45–46, no. 90, dates it 1868–69; repeats Robaut's [Ref. 1905] erroneous assertion that the original composition did not include the tree at left.
Henri Marceau. Corot 1796–1875. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1946, pp. 20, 40, no. 56, ill. [includes reprint of Ref. Venturi 1947], calls it "Une Liseuse dans la campagne (Woman Reading)" and dates it 1868–69; repeats error about the original composition, stating that "the background trees have been modified several times".
Lionello Venturi. Modern Painters. Vol. 1, New York, 1947, p. 156.
Joseph C. Sloane. French Painting Between the Past and the Present: Artists, Critics, and Traditions, from 1848 to 1870. [reprint 1973]. Princeton, 1951, p. 125 n. 29, pp. 126–27, fig. 83, misattributes a quote by Gustave Geffroy, regarding Corot's paintings of women, to Corot himself [see 7/26/2009 email in archive file].
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 233, no. 144, colorpl. 144, refers to it as both "Woman Reading" and "Woman Reading in the Fields"; comments that Corot painted out the tree at left in order to render the figure less crowded and more impressive; remarks that the painting's structure recalls Poussin, and the figure Ingres
François Fosca. Corot, sa vie et son oeuvre. Brussels, 1958, ill. p. 155, calls it "La Liseuse dans la Campagne" and dates it 1868–69.
André Coquis. Corot et la critique contemporaine. Paris, 1959, pp. 117–19.
Great Paintings from The Metropolitan Museum of Art. New York, 1959, unpaginated, no. 52, ill. (color), as "Woman Reading".
Robert L. Herbert. Barbizon Revisited. Exh. cat., California Palace of the Legion of Honor, San Francisco. Boston, 1962, p. 53, refers to it as the first painting of a single female figure that Corot exhibited.
Sylvie Béguin in Figures de Corot. Exh. cat., Musée du Louvre. Paris, 1962, p. 172, under no. 75.
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. 63–65, ill., call it "A Woman Reading"; state that the photograph in Ref. Robaut 1905 was taken during the 1869 Salon.
Introduction by Kenneth Clark in Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 309, no. 365, ill., calls it a late example of the "lyrical and brooding paintings of young women" that "reveal the true depth of his [Corot's] artistic mentality".
Germain Bazin. Corot. 3rd rev. ed. (1st ed., 1942; 2nd ed., 1951). Paris, 1973, p. 271.
Pierre Miquel. Le Paysage français au XIXe siècle. Vol. 2, 1824–1874. Maurs-la-jolie, 1975, pp. 51–52.
Hélène Toussaint in Hommage à Corot: Peintures et dessins des collections françaises. Exh. cat., Orangerie des Tuileries. Paris, 1975, p. 184.
Anne L. Poulet in Corot to Braque: French Paintings from the Museum of Fine Arts, Boston. Exh. cat., Museum of Fine Arts, Boston. Boston, 1979, p. 4, under no. 2, calls it the only painting of a single female figure that Corot ever exhibited.
Antje Zimmermann. "Studien zum Figurenbild bei Corot." PhD diss., Universität Köln, 1986, pp. 51, 57, 139, 240 n. 4, p. 245 n. 32, p. 352, no. 46, ill., dates it 1868–69; discusses the relation between figure and landscape in this and several other reading figures, including "Reverie" (R1422; MMA 29.100.562), "Girl Reading" (R1378; Oskar Reinhart collection, Winterthur), "Woman Crowned with Flowers, Reading" (R389, Musée du Louvre, Paris), and "Interrupted Reading" (R1431, Art Institute of Chicago); suggests that Corot was influenced by a 1552 woodcut of a woman's figure against the horizon, reproduced in a book by A. F. Donis, and relates both images to Dürer's "Melancholy".
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 30–31, no. 10, ill. (color).
Jean Selz. La Vie et l'œuvre de Camille Corot. Paris, 1988, p. 136, ill. p. 133 (color), notes that Corot painted about twenty images of women reading; erroneously states that this is the only figure painting Corot ever exhibited at the Salon (see Tinterow 1996).
Fronia E. Wissman. "Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design." PhD diss., Yale University, 1989, vol. 1, pp. 107–10, 205, no. 117; vol. 2, fig. 53, calls it "Une Liseuse (Woman Reading in a Landscape)"; discusses it among paintings in which the meditative female figure personifies nature, concluding that in this way "Corot resolved the problem of integrating the figure into its surroundings".
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 2, 130 n. 2, fig. 1, calls it one of only two figure subjects exhibited during Corot's lifetime; misidentifies its catalogue raisonné number as R550, perhaps confusing it with its entry number at the Salon of 1869.
Michael Clarke. Corot and the Art of Landscape. London, 1991, p. 139.
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.
Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.
Jean Leymarie. Corot. 3rd ed. (1st ed., 1966). [Geneva], 1992, pp. 148–49, ill. (color) [English ed., 1979].
Polly Sartori. "Corot's Private World: An Invitation to his Studio." Christie's International Magazine 11 (September/October 1994), p. 17, asserts that it is the only female portrait that Corot exhibited in his lifetime.
Gary Tinterow and Polly Sartori. "The Corot Interview." Barbizon, Realist and French Landscape Paintings. Christie's, New York. May 22, 1996, p. 17.
Gary Tinterow in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 267, 329–30, 417, no. 141, ill. p. 331 (color) and fig. 144 (original composition) [French ed., "Corot 1796–1875," Paris, 1996, pp. 33, 330, 392–93, no. 141, ill. (color and black and white)], notes that this is one of only four figure paintings Corot exhibited during his lifetime; states that infrared reflectography reveals the contours of a tree that correspond precisely to those in the 1869 photograph of the painting, remarking that Corot probably modified the painting because of its poor reception at the Salon; notes that "the overwhelming majority of his approximately 350 figure paintings depict a woman who is engrossed in her reading, meditating on what she has read, or simply asleep with a book in her hand"; cites Raphael's "Belle Jardinière" (Musée du Louvre, Paris) as a direct influence on this picture and suggests Corot's familiarity with a photograph by Louis-Rémy Robert depicting a similar scene of a woman reading.
Oskar Bätschmann. "Les Portraits anonymes. La Transformation du tableau de genre." Corot, un artiste et son temps. Paris, 1998, p. 315, erroneously states that this painting and "A Monk" (R375; Musée du Louvre, Paris) are the only figure paintings exhibited by Corot [see Ref. Tinterow 1996].
Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, 1998, p. 177, fig. 116, mentions it as a possible source for Bazille's "The Fortune Teller" (Private collection).
Jed Perl. Eyewitness: Reports from an Art World in Crisis. New York, 2000, p. 225.
Garrett Stewart. "Painted Readers, Narrative Regress." Narrative 11 (May 2003), p. 147, fig. 24.
Vincent Pomarède in Corot: Naturaleza, Emoción, Recuerdo. Ed. Vincent Pomarède. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 238, 252, 315, 383, 387, 404, fig. 7.6 (color).
19th Century European Art. Christie's, New York. April 19, 2005, p. 182, under no. 166, as "Woman Reading in a Landscape".
Vincent Pomarède in Oskar Reinhart Collection "Am Römerholz" Winterthur. Ed. Mariantonia Reinhard-Felice. Basel, 2005, p. 330 n. 9.
Richard R. Brettell and Stephen F. Eisenman. Nineteenth-Century Art in the Norton Simon Museum. Ed. Sara Campbell. Vol. 1, New Haven, 2006, p. 107, fig. 23a, date it 1869 and compare it to Corot's "The Cicada" (1865–75; Norton Simon Museum, Pasadena).
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. 31, 196, no. 12, ill. (color and black and white).
Tamar Garb. The Painted Face: Portraits of Women in France 1814–1914. New Haven, 2007, p. 116, pl. 112.
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 2, 6 nn. 2, 5, fig. 1 (color).
Vincent Pomarède in The Secret Armoire: Corot's Figure Paintings and the World of Reading. Ed. Mariantonia Reinhard-Felice. Exh. cat., Collection Oskar Reinhart "Am Römerholz," Winterthur. Munich, 2011, pp. 19, 106, 128–30, 140, 142, 173, no. 15, ill. (color) and figs. 74 (1869 photo of the painting in its first state) and 75 (X-ray) [German ed., "Corot. L'Armoire secrète: Eine Lesende im Kontext," Munich, 2011].
Mariantonia Reinhard-Felice in The Secret Armoire: Corot's Figure Paintings and the World of Reading. Ed. Mariantonia Reinhard-Felice. Exh. cat., Collection Oskar Reinhart "Am Römerholz," Winterthur. Munich, 2011, pp. 10, 55, 61–62, 92, 110, 150 [German ed., "Corot. L'Armoire secrète: Eine Lesende im Kontext," Munich, 2011].
Kerstin Richter in The Secret Armoire: Corot's Figure Paintings and the World of Reading. Ed. Mariantonia Reinhard-Felice. Exh. cat., Collection Oskar Reinhart "Am Römerholz," Winterthur. Munich, 2011, p. 83 [German ed., "Corot. L'Armoire secrète: Eine Lesende im Kontext," Munich, 2011].