Helen Comstock. "The Connoisseur in America: French Art for French Children." The Connoisseur 109 (July 1942), pp. 146–47, ill.
Maurice Malingue. Claude Monet. Monaco, 1943, p. 146, pl. 58.
Douglas Cooper. Claude Monet. Exh. cat., Royal Scottish Academy Building. Edinburgh, 1957, p. 45, no. 30, pl. 17i, remarks that it was painted before Monet left for London in 1870; sees the influence of Manet; notes that "the flat landscape background suggests a photographer's studio" and compares it to Degas's 1870 portrait of Henri Valpinçon (L270).
Raymond Cogniat. Monet and His World. London, 1966, p. 135, ill. p. 50.
Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, p. 93, no. 61, ill. p. 92.
Carol Cutler. Selections from the Nathan Cummings Collection. Exh. cat., National Gallery of Art. Washington, 1970, p. 24, no. 11, ill. p. 24 and on cover (color).
Marie-Claude Wrenn. "In the Art Market, Nobody Doesn't Like Mr. Sara Lee." Life 69 (October 23, 1970), p. 76, ill. (color).
René Huyghe. Impressionism. New York, 1973, p. 152, ill.
Daniel Wildenstein. "1840–1881: Peintures." Claude Monet: Biographie et catalogue raisonné. 1, Lausanne, 1974, pp. 62, 216–17, no. 238, ill.
Paul Hayes Tucker. Monet at Argenteuil. New Haven, 1982, pp. 131, 139, fig. 104, suggests that it strongly recalls equestrian portraits by Titian and Velázquez, and compares it to the latter's "Infante Don Baltasar Carlos on Horseback" (Prado, Madrid), and remarks that, in doing this, Monet was using "the forms of the aristocrats of old to confirm their newly attained status"; interprets it as showing signs of familial estrangement, alienation, and discontent in the Monet household.
John House. Monet: Nature into Art. New Haven, 1986, p. 34, pl. 44, proposes that it is not an "unequivocal tribute" to the traditional equestrian child portrait, but more of a parody, "as the monumental steed is transformed into a wooden horse mounted on a child's tricycle".
Perrin Stein in Prized Possessions: European Paintings from Private Collections of Friends of the Museum of Fine Arts, Boston. Exh. cat., Museum of Fine Arts, Boston. Boston, 1992, pp. 181, no. 93, colorpl. 130, remarks that the composition, its flatness and the muted colors, give it a two-dimensional abstracted quality that recalls the Japanese prints that Monet collected.
Paul Hayes Tucker. Claude Monet: Life and Art. New Haven, 1995, pp. 65–66, 68, colorpl. 74.
Daniel Wildenstein. Monet or the Triumph of Impressionism. 1, 2nd ed. Cologne, 1996, p. 99, ill. p. 95 (color).
Daniel Wildenstein. "Catalogue raisonné–Werkverzeichnis: Nos. 1–968." Monet. 2, 2nd ed. Cologne, 1996, pp. 104–5, no. 238, ill. (color).
Richard R. Brettell. Monet to Moore: The Millennium Gift of Sara Lee Corporation. Exh. cat.New Haven, 2000, pp. xi–xii, xiv, xx, 116–21, no. 31, fig. 7, fig. 21, pp. xi, xx, ill. (color, overall and details), places it in the context of Monet's other six or seven paintings of Jean, all completed before this one, and sees it as a "father's pictorial analysis of his paternity and his son's growth"; suggests that this portrait was probably painted to mark Jean's fifth birthday, a celebration of his passage from infancy to boyhood, and notes that the toy horse is a present from his father.
Gary Tinterow in "Recent Acquisitions, A Selection: 1999–2000." Metropolitan Museum of Art Bulletin 58 (Fall 2000), pp. 5, 45, ill. (color).
Christoph Becker et al. Monet's Garden. Exh. cat., Kunsthaus Zürich. Ostfildern-Ruit, Germany, 2004, pp. 23, 195, no. 8, ill. p. 24 (color).
Paul Hayes Tucker. "Monet and the Bourgeois Dream: Argenteuil and the Modern Landscape." Modernism and Modernity: The Vancouver Conference Papers. 2nd ed. [1st ed., 1983]. Halifax, 2004, pp. 28, 34.
Clare A. P. Willsdon. In the Gardens of Impressionism. New York, 2004, pp. 129, 264 n. 7, erroneously locates it in a private collection, Boston.
Doris Kutschbach. Living Monet: The Artist's Gardens. Munich, 2006, p. 15, ill. p. 19 (color).
Hugues Wilhelm in Women in Impressionism: From Mythical Feminine to Modern Woman. Exh. cat., Ny Carlsberg Glyptotek, Copenhagen. Milan, 2006, p. 280, erroneously as still in the Sara Lee Collection.
Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 138, 281–82, no. 127, ill. (color and black and white).
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. 122, 239, no. 86, ill. (color and black and white).
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. 131, 141, calls it "Jean Monet on His Mechanical Horse" and "Jean Monet on His Tricycle".
R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 841, fig. VI (color).