Camille Pissarro. Letter to M. Joseph [Durand-Ruel]. January 13, 1892 [published in Lionello Venturi, "Les archives de l'impressionnisme," vol. 2, Paris, 1939, p. 32], lists it as no. 11 and calls it his great work, but notes that he has not finished it yet; discusses the possibility of making new frames for the three principle paintings in the show, including this one.
Camille Pissarro. Letter to M. Durand-Ruel. January 19, 1892 [published in Lionello Venturi, "Les archives de l'impressionnisme," vol. 2, Paris, 1939, pp. 33–34], lists it as no. 11 in the list of works that will be at the February 1892 exhibition at Durand-Ruel.
Félix Fénéon. "Exposition Camille Pissarro." L'Art moderne [Brussels] (February 14, 1892), p. 55 [reprinted in Fénéon, "Œuvres plus que complètes," vol. 1, Geneva, 1970, p. 209].
Gustave Geffroy. "Chronique artistique. L'exposition de Camille Pissarro." La Justice (February 2, 1892), p. 1 [see Ref. Snollaerts 2005].
A. Andrei. "Les Petits salons. Camille Pissarro." La France nouvelle (February 23, 1892), p. 2 [see Ref. Snollaerts 2005].
Charles Saunier. "L'Art nouveau." La Revue indépendante 23 (April–June 1892), p. 38.
Henri Pellier. "Petits salons: Camille Pissarro." La Petite république (April 14, 1904), p. 3.
Théodore Duret. Histoire des peintres impressionistes. Paris, 1906, pp. 64–65.
J. B. M[anson]. "The Camille Pissarro Exhibition in Paris." Outlook (February 7, 1914), p. 171, misidentifies the figure at left as male.
Georges Lecomte. Camille Pissarro. Paris, 1922, ill. opp. p. 46.
Théodore Duret. Die Impressionisten. Berlin, 1923, p. 86, incorrectly dates it 1882.
Emil Waldmann. Die Kunst des Realismus und des Impressionismus im 19. Jahrhundert. Berlin, 1927, pp. 88, 468, ill.
Charles Kunstler. "Camille Pissarro (1830–1903)." La Renaissance no. 12 (December 1928), p. 505.
"Les grandes ventes prochaines: La collectin Camille Pissarro." Bulletin de l'art ancien et moderne no. 753 (December 1928), pp. 410, 412, ill., comments that it illustrates Pissarro's evolution away from the influence of older artists.
Charles Kunstler. "La collection Camille Pissarro." Le Figaro artistique no. 209 (November 29, 1928), p. 103, ill., observes that in it Pissarro returned to comma-like brushstrokes.
Maurice Monda. "Revue des ventes de décembre." Le Figaro artistique 6 (January 10, 1929), p. 221, notes that it sold for Fr 173,000 to Paul Rosenberg at the Pissarro sale on December 3, 1928.
Georges Pillement. "À l'exposition de Pissarro." La Revue française (March 16, 1930), ill. p. 259.
Charles Kunstler. "À propos de l'Exposition du Musée de l'Orangerie aux Tuileries: Le Centenaire de Camille Pissarro." L'Art vivant 6 (March 1, 1930), p. 189.
"Nineteenth-Century Masterpieces." Burlington Magazine 66 (June 1935), p. 297, ill. opp. p. 293.
Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, pp. 61, 192, no. 792; vol. 2, pl. 163, no. 792.
Charles Kunstler. Pissarro: Cities and Landscapes. New York, 1967, p. 58.
Everett Fahy in The Wrightsman Collection. Vol. 5, Paintings, Drawings. [New York], 1973, pp. 151–57, no. 17, ill. p. 153 (color), fig. 1 (detail), notes that it was probably begun in the summer, perahaps mid-July, of 1891, since the trees are in full leaf; comments that the setting is a field near Pissarro's house at Éragny, which frequently appears in the artist's other works; discusses the style and technique, noting that it is similar to "Haymakers Resting," which is signed and dated 1891 (McNay Art Institute, San Antonio; PV773).
R. A. Cecil. "The Wrightsman Collection." Burlington Magazine 118 (July 1976), p. 518.
Christopher Lloyd. Pissarro. New York, 1979, pp. 8–9, colorpl. 32, remarks that it "epitomizes the change of emphasis that Pissarro brought to his treatment of the human figure during the 1880s," noting that now he is more sympathetic to the figures, the models are not generalized, and that their dress and actions are closely observed and recorded.
Richard R. Brettell and Christopher Lloyd. A Catalogue of the Drawings by Camille Pissarro in the Ashmolean Museum, Oxford. Oxford, 1980, p. 141, reproduces a drawing in the Ashmolean's collection from the early 1880s, which Pissarro adapted ten years later for the background of this picture.
Christopher Lloyd. Camille Pissarro. New York, 1981, p. 113, ill.
Anne Schirrmeister. Camille Pissarro. New York, 1982, pp. 14–15, no. 12, ill. on cover (color) and colorpl. 15, remarks that this is one of Pissarro's largest and most ambitious works; notes that he never sold the painting, but bequeathed it to his wife, who kept it until her death.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 92–93, ill. (color).
John House. "Camille Pissarro's "Seated Peasant Woman": The Rhetoric of Inexpressiveness." Essays in Honor of Paul Mellon: Collector and Benefactor. Ed. John Wilmerding. Washington, 1986, pp. 162–63, 167, 170 n. 21, fig. 4.
Richard Shiff. "The Work of Painting: Camille Pissarro and Symbolism." Apollo 136 (November 1992), pp. 309–10, fig. 2.
T. J. Clark. Farewell to an Idea: Episodes from a History of Modernism. New Haven, 1999, pp. 54–56, 58–59, 62–71, 82, 85–90, 99, 104–5, 107, 110, 112, 114–15, 117, 121–22, 128, 132, 414 nn. 6, 12, pp. 419–20 n. 127, colorpls. 20, 31, 46 (overall and details), discusses the work in relation to the political climate at the time and Pissarro's anarchist and socialist views, seeing the effects of anarchist politics in this work; mentions the difficulties that Pissarro encountered in finishing it; comments on the technique, use of light, and the poses of the two women.
David S. Stern et al., ed. Impressionism to the Present: Camille Pissarro and His Descendants. Exh. cat., Museum of Art. Fort Lauderdale, 2000, pp. 14, 54, note that Christopher Lloyd considers it very possible that the seated woman is Eugenie Estruc, known as Nini, whose portrait Pissarro painted in 1884 (Richard Nathanson collection, London; PV654).
Richard Shone. The Janice H. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 31–32, fig. 14, notes that the posture of the standing woman is similar to Pissarro's "Peasant Woman Digging" (Philip and Janice Levin Foundation, New York; PV618) of 1883.
Gary Tinterow and Asher Ethan Miller in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 426–31, no. 123, ill. (color).
Richard Shiff in Camille Pissarro. Exh. cat., Art Gallery of New South Wales. Sydney, 2005, pp. 41, 43, fig. 18 (color).
Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 30, 363, 366, 370, 372, 376, 378–81, 383, 392, 394, 423; vol. 3, pp. 524, 598, 600–602, 954, 958, no. 912, ill. (color), dates it 1891–92.
Impressionist and Modern Works on Paper. Christie's, New York. November 7, 2007, p. 38, under no. 126, fig. 1.