About This Artwork

Claude Monet
French, 1840-1926

Stack of Wheat (Thaw, Sunset), 1890/91

Oil on canvas
64.4 x 92.5 cm (25 3/8 x 36 7/16 in.)
Inscribed lower left: Claude Monet 91

Gift of Mr. and Mrs. Daniel C. Searle, 1983.166

Wildenstein, Claude Monet, cat rais. 1996 1284; Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1284


This work is featured in the online catalogue Monet Paintings and Drawings at the Art Institute of Chicago, the first volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 47 artworks by Claude Monet in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

Possibly Paris, Galeries Durand-Ruel, Exposition d’oeuvres récentes de Claude Monet, May 1891, cat. 12, as Meule. (Fin du jour.).

New York, Fine Arts Society Building, Loan Exhibition, Feb. 1893, cat. 41, as The Haystack —Thaw. Lent by Mr. M. Knoedler.

New York, Durand-Ruel Galleries, Exposition of Forty Paintings by Claude Monet, Jan. 12–27, 1895, cat. 44, as “Meule—Dégel—Soleil couchant.” 1891.

Boston, St. Botolph Club, Exhibition of Paintings by Claude Monet, Feb. 4–16, 1895, cat. 11, as Meule. Le Degel. Soleil couchant. 1891.

Munich, Kunstausstellungsgebäude, Internationalen Kunst-Ausstellung: Secession, 1900, cat. 195, as Heuschober. Untergehende Sonne.

Berlin, Paul Cassirer, XI. Jahrgang. VI Ausstellung, Jan. 22–Feb. 22, 1909, cat. 8, as Heuschober bei Sonnenuntergang.

Copenhagen, Musée Royal de Copenhague, Exposition d’art français du XIXe siècle, May 15–June 30, 1914, cat. 149, as Höstak. Solnedgant.—Meule: soleil couchant (1891). Galeries Durand-Ruel.

Possibly Paris, Galeries Durand-Ruel, Tableaux par Claude Monet, Mar. 2–28, 1914, cat. 43, as Meules, soleil couchant. 1891.

Arts Club of Chicago, Paintings by Cl. Monet in Retrospect 1868–1913, Jan. 6–31, 1933, cat. 11.

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 110 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales, Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985 (Los Angeles and Chicago only).

Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, Feb. 7–Apr. 29, 1990, cat. 28 (ill.); Art Institute of Chicago, May 19–Aug. 12, 1990; London, Royal Academy of Arts, Sept. 7–Dec. 9, 1990.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 100 (ill.).

Moscow, State Pushkin Museum of Fine Arts, Klod Mone [Claude Monet], Nov. 26, 2001–Feb. 21, 2002, cat. 31 (ill.); Saint Petersburg, State Hermitage Museum, May 1–15, 2002.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 80 (ill.).

Publication History

Possibly Galeries Durand-Ruel, Paris, Exposition Claude Monet, exh. cat. (Galeries Durand-Ruel, 1891), p. 16, cat. 12.

Fine Arts Society, Catalogue: Loan Exhibition, exh. cat. (Fine Arts Society, [1893]), p. 39, cat. 41.

Durand-Ruel Galleries, New York, Exposition of Forty Paintings by Claude Monet, exh. cat. (Durand-Ruel, 1895), cat. 44.

St. Botolph Club, Boston, Exhibition of Paintings by Claude Monet, exh. cat. (St. Botolph Club, 1895), cat. 11.

Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (E. V.), “Secession” 1900, exh. cat. (F. Bruckmann, [1900]), p. 22, cat. 195.

Karl Voll, “Die Internationale Kunstausstellung 1900 der Münchener Secession,” Die Kunst für Alle: Malerei, Plastik, Graphik, Architektur 15, 21 (Aug. 1, 1900), p. 485.

Possibly Galeries Durand-Ruel, Paris, Tableaux par Claude Monet, exh. cat. (Galeries Durand-Ruel, 1914), cat. 43.

Musée Royal de Copenhague, Exposition d’art français du XIXe siècle, exh. cat. (Dansk Kunstmuseums Forening, 1914), p. 37, cat. 149.

Gustave Geffroy, Claude Monet, sa vie, son temps, son oeuvre (Paris, 1922), opp. p. 240 (ill.).

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 193, fig. 90.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 38; 142; 143, cat. 1284 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1979), p. 79, n. 726 (cat. 1284).

Art Institute of Chicago, “Acquisitions,” Mosaic (July–Aug. 1983), p. 8 (ill.).

Art Institute of Chicago, Art Institute of Chicago Annual Report 1982-83 (Art Institute of Chicago, 1983), pp. 5, fig. 6; 12.

Art Institute of Chicago, A Record of Sharing with Chicago’s Masterpiece, annual report supplement (Art Institute of Chicago, [1983]), p. 15 (ill.).

Robert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 161 (ill.), 163.

“French Paintings Recently Acquired by the Art Institute of Chicago,” Burlington Magazine 76, 976 (July 1984), p. 465, fig. 91.

Art Institute of Chicago, Art Institute of Chicago Museum Studies, 11, 1 (Fall 1984), front cover (detail), p. 2.

Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 4–5, pl. 1; 6; 7; 12; 16–17, fig. 12 (ill.); 19; 21, n. 6.

Andrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 365.

Richard R. Brettell, “The Fields of France,” in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 246; 260–262; 269, no. 110 (ill.).

Richard R. Brettell, “La champagne française,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 261; 278; 282–291, no. 110 (ill.).

Richard R. Brettell, Post-Impressionists (Art Institute of Chicago, 1987), pp. 35, 38 (ill.); 118.

Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 3; 77; 81; 88, pl. 27; 296, cat. 28.

Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 311, pl. 101.

Sylvie Patin, Monet: “Un oeil . . . mais, bon Dieu, quel oeil!” (Gallimard/Réunion des Musées Nationaux, 1991), pp. 104 (ill.), 105 (detail), 172. Translated by Anthony Roberts as Monet: The Ultimate Impressionist(Abrams, 1993), pp. 104 (ill.), 105 (detail), 171.

Anne Rorimer, “The Date Paintings of On Kawara,” Art Institute of Chicago Museum Studies 17, 2 (1991), p. 122, fig. 2.

John Sallis, “Monet’s Grainstacks: Shades of Time,” Tema Celeste International Art Magazine 30 (Mar.- Apr. 1991), pp. 58 (ill.); 67, n. 13.

Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), pp. 48, cat. 1284; 200, letters 2833, 2835–2837.

Richard Shiff, “‘Il faut que les yeux soient émus’: Impressionisme et symbolism vers 1891,” Revue de l’art 96 (1992), p. 27, fig. 3.

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 44; 49; 90, pl. 19; 108.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 121, cat. 100 (ill.); 226; 227; 245.

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 274–75, cat. 1284 (ill.); 275.

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1284 (ill.); 501.

John Sallis, Shades—Of Painting at the Limit (Indiana University Press, 1998), n. pag., pl. 11; 54–55.

T. J. Clark, Farewell to an Idea: Episodes from a History of Modernism (Yale University Press, 1999), pp. 76; 110, fig. 57; 111.

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), pp. 134–35 (ill.).

A. G. Kostenevich, Klod Mone [Claude Monet], exh. cat. (Khudozhnik i Kniga, 2001), pp. 84, cat. 31 (ill.); 85 (detail).

Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 161, 167, 183.

Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 11 (ill.), 78–79 (ill.), 128.

Anna Gruetzner Robins, “‘Slabs of Pink and Lumps of Brown’: The Critical Reaction to the Exhibition of a Monet Grainstack Painting in Britain in 1893,” in Monet and French Landscape: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), pp. 159; 168, n. 10.

Charles F. Stuckey, “The Predications and Implications of Monet’s Series,” in The Repeating Image: Multiples in French Painting from David to Matisse, ed. Eik Kahng, exh. cat. (Walters Art Museum/Yale University Press, 2007), pp. 85; 87–88, fig. 5.

Eric M. Zafran, “Monet in America,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 104.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 21 (ill.), 22; 103; 108; 156; 159, cat. 80 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 21 (ill.), 22; 103; 108; 156; 159, cat. 80 (ill.).

“Cat. 32: Stack of Wheat (Thaw, Sunset), 1890/91” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Possibly sold by the artist to Hamman, Paris, as agent for Knoedler and Company, New York, Sept. 1891. [1]

Sold at the Knoedler, New York, sale, Chickering Hall, New York, Apr. 11, 1893, lot 77, to Durand-Ruel, New York, and Boussod, Valadon et Cie., Paris, in half-shares, for 6,000 francs. [2]

Half share sold by Durand-Ruel, New York, to Durand-Ruel, Paris, Sept. 30, 1899 or Nov. 13, 1899. [3]

Half share sold by Durand-Ruel, Paris, to Boussod, Valadon et Cie., Paris, May 27, 1903. [4]

Acquired by Rosenberg, Paris, 1903. [5]

Sold by Rosenberg, Paris, to Durand-Ruel, Paris, Jan. 11, 1908. [6]

Sold by Durand-Ruel, Paris, to Durand-Ruel, New York, Nov. 11, 1915 or Dec. 9, 1915. [7]

Sold by Durand-Ruel, New York, to André Weil, Paris, Jan. 9, 1948. [8]

Acquired by Wildenstein, New York and Paris, by 1982. [9]

Sold by Wildenstein, New York and Paris, to Mrs. Mercedes Eraso de Rodríguez Landaeta, Caracas, Venezuela, by 1982. [10]

Acquired by Rachel Adler Fine Art, New York, by Aug. 1982. [11]

Sold by Rachel Adler Fine Art, New York, to James Goodman Gallery, New York, Aug. 1982. [12]

Sold by James Goodman Gallery, New York, to Stephen Hahn Gallery, New York, Feb. 7, 1983. [13]

Half share sold by Stephen Hahn Gallery, New York, to Acquavella Galleries, New York, Feb. 7, 1983. [14]

Sold by Acquavella Galleries, New York, to Mr. Daniel C. Searle, Winnetka, Ill., Feb. 7, 1983. [15]

Given by Mr. and Mrs. Daniel C. Searle, Winnetka, Ill., to the Art Institute of Chicago, beginning in 1983. [16]

NOTES

[1] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1284 (ill.); 501. According to the Frick Collection’s online “Archives Directory for the History of Collecting in America,” Hamman was the director of Roland Knoedler’s gallery in Paris.

[2] The transaction is recorded in the Durand-Ruel, New York, stock book for 1888–93 (no. 1060, as Meules, le dégel, soleil couchant):, “Purchased by DR New York on 11 April 1893 at the Knoedler sale, lot no. 77 for 6 000 F (half share with Boussod & Valadon) / Stock DR New York no. 1060,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago. See also American Art Association, Catalogue of Modern Paintings Belonging to M. Knoedler & Co. Successors to Goupil & Co. to be Sold by Absolute Auction to Settle the Estate of the Late John Knoedler (American Art Association, 1893), p. 32, lot 77, (as The Haystack, Thaw). Annotated copies of the sale catalogue in the curatorial object file indicate that Durand-Ruel and Boussod et Valadon purchased the painting in half shares, along with two price notations, $1,200 and $1250.

[3] The Paris and New York Durand-Ruel stock books record different dates for the sale. The New York stock book for 1894–1905 (no. 1060, as Meules, le dégel, soleil couchant) states: “Sold to DR Paris on 30 September 1899.” The Paris stock book for 1901–13 (no. 5503, Meules au soleil couchant) states: “Purchased by DR Paris on 13 November 1899 as Meules au soleil couchant / Stock DR Paris no. 5503; photo no. 5978.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago.

[4] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 5503, as Meules au soleil couchant): “Sold to Boussod & Valadon on 27 May 1903,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives,to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago. An additional letter from the Durand-Ruel Archives clarifies that the painting became solely owned by Boussod, Valadon et Cie at this time. According to Caroline Durand-Ruel Godfroy from the Durand-Ruel Archives, “Le tableau appartient totalement à Boussod et Valadon et est alors sorti de notre stock.” See Caroline Durand-Ruel Godfroy to the Art Institute of Chicago, June 12, 2002, in curatorial object file, Art Institute of Chicago.

[5] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1284 (ill.); 501.

[6] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 8601, as Meules, soleil couchant): “Purchased from Rosenberg on 11 January 1908 / Stock DR Paris no. 8601 as Meules, soleil couchant,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago.

[7] The Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book for 1913–21 (no. 8601, as Meules, soleil couchant) states: “Sold to DR New York on 11 November 1915.” The New York stock book for 1904–24 (no. 3899, as Meules, le dégel, soleil couchant) states: “Purchased by DR New York on 9 December 1915 as Meules, le dégel, soleil couchant / Stock DR New York no. 3899.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives,to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago.

[8] The transaction is recorded in the Durand-Ruel, New York, stock book for the year 1949 (no. 3899, as as Meules, le dégel, soleil couchant): “Sold to André Weil on 9 January 1948,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 5, 2013, curatorial object file, Art Institute of Chicago.

[9] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1284 (ill.); 501; and according to Rachel Adler to the Art Institute of Chicago, June 27, 2002, e-mail correspondence, in curatorial object file, Art Institute of Chicago.

[10] According to Rachel Adler to the Art Institute of Chicago, June 27, 2002, e-mail correspondence from in curatorial object file, Art Institute of Chicago.

[11] According to Rachel Adler to the Art Institute of Chicago, June 27, 2002, e-mail correspondence, in curatorial object file, Art Institute of Chicago, “the painting was in the collection of Mrs. Mercedes Eraso de Rodríguez Landaeta, Caracas, Venezuela, at the time I sold it.”

[12] According to fax from Patricia H. Tompkins, James Goodman Gallery, to the Art Institute of Chicago, June 21, 2002.

[13] According to telephone conversation between Stephen Hahn and the Art Institute of Chicago, May 14, 2002; notes from the conversation dated June 10, 2002 in curatorial object file, Art Institute of Chicago.

[14] According to telephone conversation between Gail Edmondson, Acquavella Galleries, and the Art Institute of Chicago, Sept. 16, 1998; notes from conversation in curatorial object file, Art Institute of Chicago. Also according to telephone conversation between Stephen Hahn and the Art Institute of Chicago, May 14, 2002; notes from the conversation dated June 10, 2002 in curatorial object file, Art Institute of Chicago.

[15] According to Art Dealers Association of America document, Sept. 26, 1991, in curatorial object file, Art Institute of Chicago.

[16] The painting was given to the Art Institute of Chicago in undivided fractional interests beginning in 1983. The Art Institute received the final fractional interest for 100 percent ownership in 1991.




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