Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, pp. 96–97, no. 119, ill.
Daniel Wildenstein. Claude Monet. Milan, 1971, ill. pp. 36–37 (color).
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840–1881: Peintures. Lausanne, 1974, pp. 73, 276–77, no. 380, ill., dates it 1875; remarks that it and three others from the same year (private collection, New York, W377; Museum of Fine Arts, Boston, W378; and Pola Museum of Art, Kanawaga, Japan, W379) were painted in the plains of Colombes or Gennevilliers.
Colin B. Bailey 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. 52–53, 163–64, ill. (color and black and white), notes that it and W377–79 depict the plain of Gennevilliers, and were all painted in the summer of 1875 [see Ref. Wildenstein 1974]; identifies the figure as Monet's eight-year-old son, Jean; comments that Monet's "selective and simplifying" landscape offers no hint that during this time Gennevilliers had become a dumping ground for untreated sewage from Paris.
Daniel Wildenstein. Claude Monet: Catalogue raisonné. Vol. 5, Supplément aux peintures; dessins, pastels, index. Lausanne, 1991, p. 30, no. 380.
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), p. 69.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, p. 108.
Daniel Wildenstein. Monet. Vol. 2, Catalogue raisonné–Werkverzeichnis: Nos. 1–968. 2nd ed. Cologne, 1996, pp. 156–57, no. 380, ill. (color), identifies the setting as the plain of Colombes or the plain of Gennevilliers, locations which are now unrecognizable.
Gary Tinterow in "Recent Acquisitions, A Selection: 2000–2001." Metropolitan Museum of Art Bulletin 59 (Fall 2001), p. 42, ill. (color).
Dorothee Hansen in Monet und "Camille": Frauenportraits im Impressionismus. Ed. Dorothee Hansen and Wulf Herzogenrath. Exh. cat., Kunsthalle Bremen. Munich, 2005, p. 188 nn. 1, 3, no. 16 [English ed., Bremen, 2005, p. 32].
Christofer Conrad in Christian von Holst and Christofer Conrad. Claude Monet: Fields in Spring. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 2006, pp. 63–64, 114 n. 6, fig. 35 (color), notes that it belongs to a series of four paintings from the summer of 1875, showing an unidentified field along the bank of the Seine, near Argenteuil.
Christian von Holst in Christian von Holst and Christofer Conrad. Claude Monet: Fields in Spring. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 2006, p. 21.
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 130.
Colin B. Bailey 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. 70–73, no. 14, ill. (color).
Michael J. Call. Claude Monet, Free Thinker: Radical Republicanism, Darwin's Science, and the Evolution of Impressionist Aesthetics. New York, 2015, p. 86, fig. 13 (color), as "Poppies (Argenteuil)"; states that the same fragmented brushstroke is used on both the figures and flowers.