Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 56, as "Haystacks in Snow".
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 479, mentions the "heavy experimental stippling of the haycocks".
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 158–59, ill.
Stephen Gwynn. Claude Monet and His Garden: The Story of an Artist's Paradise. New York, 1934, p. 168.
Oscar Reuterswärd. Monet. Stockholm, 1948, p. 286.
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. 137–38, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 298–99, 302–5, fig. 25, claims that Potter Palmer bought it in 1891, the year it was painted.
Carl R. Baldwin The Metropolitan Museum of Art. The Impressionist Epoch. [New York], 1974, p. 19.
René Huyghe Lydie Huyghe in La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, fig. 131.
Daniel Wildenstein. "1887–1898: Peintures." Claude Monet: Biographie et catalogue raisonné. 3, Paris, 1979, p. 13 n. 745, pp. 38, 142–43, no. 1279, ill.
Daniel Wildenstein. "1882–1886: Peintures." Claude Monet: Biographie et catalogue raisonné. 2, Lausanne, 1979, p. 34 n. 355.
Robert Herbert. "Method and Meaning in Monet." Art in America 67 (September 1979), p. 108.
Grace Seiberling Yale University. Monet's Series. New York, 1981, pp. 93, 96, 358, no. 23, fig. 12.
John House. "Monet in 1890." Aspects of Monet. New York, 1984, pp. 128, 138 n. 20, fig. 58.
Richard R. Brettell. "Monet's Haystacks Reconsidered." Museum Studies 11 (Fall 1984), pp. 7, 12, 19, 21 nn. 7, 15, 17, 20, fig. 6b, suggests that this picture may have been either no. 6 ("Meules. [Effet de neige; temps gris.]") or no. 7 ("Meules. [Effet de neige; soleil]") in the 1891 exhibition; discusses the Haystacks series, including a debate about how Monet may have intended the series to hang together; refers to Mrs. Potter Palmer's collection and her preference for Monet, which led her to collect nine paintings from the Haystacks series.
Charles S. Moffett. "Monet's Haystacks." Aspects of Monet. New York, 1984, p. 157 n. 4.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 140–41, 252, ill. (color).
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 98, 257, pl. 42.
Paul Hayes Tucker. Monet in the '90s: The Series Paintings. Exh. cat., Museum of Fine Arts, Boston. Boston, 1990, pp. 3, 77, 80, 82, 296, no. 23, colorpl. 23, points out that, realistically, the shadows of the two stacks should be parallel to each other and that the shadow of the smaller one should also have a conical top.
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 36.
John Sallis. "Monet's Grainstacks: Shades of Time." Tema Celeste no. 30 (March/April 1991), pp. 65, 67 n. 12 [reprinted with minor changes in "Shades–of Painting at the Limit," Bloomington, 1998, p. 37 n. 32, p. 53, colorpl. 9], discusses the Haystacks series, and asserts that they are in fact stacks of wheat or other grain and should be referred to as Wheatstacks or Grainstacks; discusses Monet's technique of painting several canvases during the day, moving between them as the light changed.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, p. 213, colorpl. 232, discusses Monet's inspiration for the Haystacks series and its reception at Durand-Ruel in 1891; mentions that several of the paintings shown were sold to Mrs. Potter Palmer.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 215.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 33.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 365, no. A406, ill.
Virginia Spate. "Confronting the Sun, Vincent Van Gogh and Claude Monet 1888–91." Van Gogh, The Songlines of Legend. Melbourne, , pp. 50–51, 54–55, discusses the Haystacks series and how it may have been partly inspired by Van Gogh's work with color.
Daniel Wildenstein. Monet or the Triumph of Impressionism. 1, 2nd ed. Cologne, 1996, p. 275, ill. pp. 270–71 (color).
Daniel Wildenstein. "Catalogue raisonné–Werkverzeichnis: Nos. 969–1595." Monet. 3, 2nd ed. Cologne, 1996, p. 500, no. 1279, ill. p. 493 (color).
Georges Roque. "Chevreul and Impressionism: A Reappraisal." Art Bulletin (March 1996), p. 37, mentions the use of blue for the shadow as an example of the Impressionists', and particularly Monet's, systematic employment of the colors blue and violet in shadows.
Caroline Durand-Ruel. "Quand les Havemeyers aimaient la peinture française." Connaissance des arts no. 544 (November 1997), p. 108.
Annabelle Görgen in Monets Vermächtnis: Serie, Ordnung und Obsession. Exh. cat., Hamburger Kunsthalle. Hamburg, 2001, p. 183, ill. 63 (color).
Horst Keller. Monets Jahre in Giverny, Ein Garten wird Malerei. Cologne, 2001, p. 67, ill. p. 68 (color).
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 84, 112.
Joseph Baillio and Cora Michael in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 166, 203.
Paul Hayes Tucker in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 75, fig. 14 (color).
Charles Stuckey in The Repeating Image: Multiples in French Painting from David to Matisse. Exh. cat., Walters Art Museum. Baltimore, 2007, pp. 85, 90–93, 112, 118, fig. 7 (color).