Jean-Louis Curtis. "Les Plaisirs de la peinture chez Mrs. Frank-J. Gould." Connaissance des arts no. 149 (July 1964), pp. 68–69, ill. (color, installation photo).
Jerrold Lanes. "New York." Burlington Magazine 106 (December 1964), p. 591, fig. 50.
"People Are Talking About... 'Terrace at Vernon,' by Pierre Bonnard." Vogue 144 (October 1, 1964), pp. 174–75, ill. (color).
Marie Pellé. "Les Collections de Florence Franck [sic] Jay Gould." Plaisir de France 34 (January 1968), p. 33, ill. (color, installation photo), calls it "Terrasse à Vernon".
Theodore Rousseau. "Reports of the Departments." Metropolitan Museum of Art Bulletin 27 (October 1968), pp. 92, 95, ill., calls it "Terrace at Vernon" and dates it 1930/38; notes that this is a partial gift of Mrs. Frank Jay Gould.
Kenneth Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 321, no. 388, ill., dates it 1930s; comments that "the three figures in the foreground convey an atmosphere of classical allegory".
Jean and Henry Dauberville. Bonnard: Catalogue raisonné de l'œuvre peint. Vol. 3, 1920–1939. Paris, 1973, p. 30, no. 990, ill., call it "Décor à Vernon"; date it 1920, adding that Bonnard later returned to this painting.
Henry Geldzahler in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 206, ill., calls it "The Terrace at Vernon" and dates it 1930–38.
André Fermigier. Pierre Bonnard. concise ed. [1st ed., 1969]. New York, 1984, ill. p. 27, dates it about 1930–38.
Sasha M. Newman in Bonnard: The Late Paintings. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Washington, 1984, pp. 142–43, no. 18, ill. (color) [reprinted in "Bonnard," Kunsthaus Zurich, 1984, pp. 202–3, no. 96, ill. (color)], dates it about 1920–39; relates this picture to Bonnard's four decorative panels commissioned by the Bernheim-Jeune family (1916–20; D866–868); groups it with the large terrace compositions, "The Wild Garden (The Terrace)" (1918; Phillips Collection, Washington; D941) and "The Terrace at Vernon" (about 1928; Kunstsammlung Nordrhein-Westfalen, Düsseldorf; D1389); discusses the three figures as references to classical mythology and the pastoral tradition.
Terence Measham in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, pp. 30–31, ill. (color), dates it 1939; describes it as "some domestic mini-drama which is being enacted in silence".
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 82, colorpl. 59, as "The Terrace at Vernon".
Guy Cogeval. Bonnard. Paris, 1993, p. 108, colorpl. 33, calls it "Décor à Vernon" and dates it 1920–39.
Anette Kruszynski in Pierre Bonnard: Das Glück zu malen. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Düsseldorf, 1993, p. 41 n. 32.
Joachim Kaak in Pierre Bonnard: Das Glück zu malen. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Düsseldorf, 1993, pp. 70–72, 79 n. 6, fig. 1, as "Décor à Vernon," ca. 1920–39.
Barbara Burn, ed. Masterpieces of the Metropolitan Museum of Art. New York, 1993, p. 302, ill. (color), calls it "The Terrace at Vernon" and dates it 1920, reworked 1939.
Nicholas Watkins. Bonnard. London, 1994, pp. 142, 151, colorpl. 116, as "Décor à Vernon," 1920–39.
Julian Bell. Bonnard. reprint ed. [1st ed., 1994]. London, 1998, p. 90, colorpl. 30, calls it "Decoration: at Vernon" and dates it 1920–39.
Timothy Hyman. Bonnard. London, 1998, pp. 114–15, 219, colorpl. 88, calls it "Decoration at Vernon" and dates it 1920–39; interprets it as a "half-buried narrative" of Bonnard's relationships with his companion and future wife, Marthe and his lover, Renée Monchaty [who committed suicide one month after Bonnard married Marthe in 1925]; suggests that the foreground tree trunk represents the artist's covert presence.
Grace Glueck. "When One City Was the Heart of Art's Youth." New York Times (March 10, 2000), p. E39.
Gloria Groom. Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis, and Roussel, 1890–1930. Exh. cat., Art Institute of Chicago. Chicago, 2001, pp. 192, 194, 196–200, 271, no. 57, ill. (color), notes that Bonnard's house, Ma Roulotte, is located in Vernonnet, a former village that became part of the town of Vernon in 1804; identifies Marthe as the central standing figure holding an apple, like "Pomona, the Roman goddess of fruit"; suggests that the figure with the tennis racquet was inspired by an ancient Roman bas-relief of Orestes (Musée du Louvre, Paris) and represents Renée Monchaty, "the passionate intruder" [see Ref. Hyman 1998]; notes that the orange palette is closer to Bonnard's paintings in Le Cannet, suggesting that he carried this canvas with him during his travels over the years.
Elizabeth Hutton Turner. Pierre Bonnard: Early and Late. Exh. cat., Phillips Collection, Washington. London, 2002, pp. 69, 266, fig. 83 (color), colorpl. 88, dates it 1920/1939.
Suzanne Pagé et al. Pierre Bonnard: The Work of Art, Suspending Time. Ed. Suzanne Pagé. Exh. cat., Musée d'Art Moderne de la Ville de Paris. Ghent, 2006, pp. 24, 177, 179–81, 318, no. 51, ill. (color), dates it about 1920–39; notes that the figure with the tennis racket appears in a notebook (1921; private collection).
Jacqueline Munck in Pierre Bonnard: The Work of Art, Suspending Time. Ed. Suzanne Pagé. Exh. cat., Musée d'Art Moderne de la Ville de Paris. Ghent, 2006, p. 88.
Rika Burnham in Pierre Bonnard: The Late Still Lifes and Interiors. Ed. Dita Amory. Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 69–70, 75, 140, fig. 54 (color).
Marina Ferretti-Bocquillon in Bonnard en Normandie. Exh. cat., Musée des Impressionnismes Giverny. Paris, 2011, pp. 13, 146, no. 32, ill. p. 75 (color), dates it 1920–39; reproduces a watercolor study for this picture.
Dita Amory in Bonnard en Normandie. Exh. cat., Musée des Impressionnismes Giverny. Paris, 2011, pp. 22–23, 27 nn. 11, 12, dates it 1920–39; notes that a 2006 examination by paintings conservator Isabelle Duvernois suggests that this picture was retouched by Bonnard to hide scratches in its surface that may have occurred when the canvas was rolled and transported by car from Normandy to Provence; states that thumbtack holes along the edges of the canvas attest to Bonnard's practice of pinning canvases directly on the walls of his studio.
Ulf Küster in Pierre Bonnard. Ed. Ulf Küster. Exh. cat., Fondation Beyeler. Basel, 2012, pp. 17–18, 171, ill. pp. 64–65 (color), dates it ca. 1920/1939.
Andreas Beyer in Pierre Bonnard. Ed. Ulf Küster. Exh. cat., Fondation Beyeler. Basel, 2012, p. 78.
The Metropolitan Museum of Art Guide. New York, 2012, p. 418, ill. (color).
Holland Cotter et al. "Reflections." New York Times (January 4, 2013), p. C27, ill. (color).