Pulling Oars under Clearing Autumn Skies 晴秋涉櫂圖

Cleveland Museum of Art, Chinese Landscape Painting, 1954, p. 87, cat. 61, p. 85 (ill), cat. by Sherman E. Lee. Memphis, Tenn., Memphis Brooks Museum of Art, The Literati Vision: Sixteenth Century Wu School Painting and Calligraphy, Sept. 16-Oct. 28, 1984, cat. by Alice R. M. Hyland; traveled to Fort Worth, Kimbell Art Museum, Dec. 2, 1984-Jan. 27, 1985, p. 93, cat. 19, p. 34, fig. 17.

Sherman E. Lee, Chinese Landscape Painting (Cleveland Museum of Art, 1954), p. 87, cat. 61, p. 85 (ill), 2nd ed, rev. (Harper & Row, 1962), p. 80, p. 81 (ill.), as Landscape with Clear Distance. . Louise Ripple Yuhas, The Landscape Art of Lu Chih (1496-1576), (Ph.D. diss., University of Michigan, 1979), p. 368. Louise Yuhas, “The Landscape Painting of Lu Chih (Part I)”, National Palace Museum Bulletin 20, 5-6 (November/December 1985, January/February 1986), pp. 9-10. Louise Yuhas, “Lu Chih and the Literati Tradition: Paintings in the Style of Ni Tsan”. Ars Orientalis, 13 (1982), pp. 34-5; p. 52, fig. 10. Alice R. M. Hyland, The Literati Vision: Sixteenth Century Wu School Painting and Calligraphy (Memphis Brooks Museum of Art, 1984), cat. 19, p. 34, fig. 17. Elinor L. Pearlstein and James T. Ulak, Asian Art in the Art Institute of Chicago (Art Institute of Chicago / Harry N. Abrams, Inc., New York, 1993), p. 74 (ill.), pp. 75-76, p. 149.