About This Artwork

Claude Monet
French, 1840-1926

Stack of Wheat, 1890/91

Oil on canvas
65.8 x 92.3 cm (25 15/16 x 36 3/8 in.)
Inscribed at lower left: Claude Monet 91

Restricted gift of the Searle Family Trust; Major Acquisitions Centennial Endowment; through prior acquisitions of the Mr. and Mrs. Martin A. Ryerson and Potter Palmer collections; through prior bequest of Jerome Friedman, 1983.29

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 W.1283, p. 142

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by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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. 11, as Meule. (Hiver.).

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 106 (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.

Tokyo, Seibu Museum of Art, Shikago bijutsukan inshō-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 57 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, Feb. 7–Apr. 29, 1990, cat. 27 (ill.); Art Institute of Chicago, May 19–Aug. 12, 1990; London, Royal Academy of Arts, Sept. 7–Dec. 9, 1990.

Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1, 1993–Jan. 9, 1994, not in cat.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 101 (ill.).

Washington, D.C., Phillips Collection, Impressionists in Winter: Effets de neige, Sept. 19, 1998–Jan. 3, 1999, cat. 24 (ill.); Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, Jan. 30–May 2, 1999; New York, Brooklyn Museum of Art, May 28–Aug. 29, 1999.

Moscow, State Pushkin Museum of Fine Arts, Klod Mone [Claude Monet], Nov. 26, 2001–Feb. 21, 2002, cat. 30 (ill.); Saint Petersburg, State Hermitage Museum, May 1–15, 2002.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 79 (ill.).

Publication History

Possibly Galeries Durand-Ruel, Exposition d’oeuvres récentes de Claude Monet, exh. cat. (Galeries Durand-Ruel, 1891), p. 16, cat. 11.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 38; 142; 143, cat. 1283 (ill.)

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

Art Institute of Chicago, A Record of Sharing with Chicago’s Masterpiece, annual report supplement (Art Institute of Chicago, [1983]), p. 14 (ill.).

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

Robert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 161 (ill.), 163, 292.

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. 364.

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; 265, no. 106 (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. 106 (ill.).

Art Institute of Chicago, “A Day in the Country: Impressionism and the French Landscape,” Mosaic (Nov.–Dec. 1984), p. 3 (ill.).

Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 6; 7; 8, pl. 2; 12; 16–17, fig. 11 (ill.); 19; 21, n. 6, n. 17.

“French Paintings Recently Acquired by the Art Institute of Chicago,” Burlington Magazine 76, 976 (July 1984), p. 464, fig. 89.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan inshō-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue,
Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nippon Television Network, 1985), pp. 116, cat. 57 (ill.); 117 (detail); 158 (ill.).

Richard R. Brettell, Post-Impressionists (Art Institute of Chicago, 1987), pp. 35, 39 (ill.), 118.

Richard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), pp. 202 (ill.); 320.

Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 3; 77; 82; 91, pl. 30; 296, cat. 27; back cover (ill.).

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. 60 (ill.); 63; 67, n.13.

Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 47, cat. 1283.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 117 (ill.).

William Mullen, “Art Institute Exhibit Hails Benefactors,” Chicago Tribune, Nov. 2, 1993, p. 6 (ill.).

Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood and Teri J. Edelstein, entries by Sally Ruth May (Art Institute of Chicago, 1993), p. 164 (ill.).

John Andrew Fisher, Reflecting on Art (Mayfield, 1993), pp. 121, pl. 6; 200.

Denis Thomas, Monet on Location (Regency House, 1994), p. 52 (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 44; 91, pl. 20; 108.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 122, cat. 101 (ill.).

Stephan Koja, Claude Monet, trans. John Brownjohn, exh. cat. (Österreichische Galerie, Belvedere, Vienna/Prestel, 1996), p. 31 (ill.).

Marietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), p. 27, fig. 1–41c.

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 274–75, cat. 1283 (ill.); 275.

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1283 (ill.); 501.

Charles S. Moffett, “Effet de neige: ‘Claude Monet and a Few Others . . . ,’” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson Impressionists in Winter: Effets de neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), pp. 20, 22.

Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), pp. 79; 211, cat. 24.

Eliza E. Rathbone, “Road by Saint-Siméon Farm in Winter,” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), p. 82.

Katherine Rothkopf, “Rue Eugène Moussoir at Moret: Winter,” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), p. 188.

Katherine Rothkopf, “Stacks of Wheat (Snow Effect, Overcast Day); Stack of Wheat; Grainstacks: Snow Effect; Stacks of Wheat (Sunset, Snow Effect),” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), pp. 120; 122; 123, cat. 24 (ill.).

John Sallis, Shades—Of Painting at the Limit (Indiana University Press, 1998), pl. 7; p. 48.

Richard Shiff, “‘To move the eyes’: Impressionism, Symbolism and Well-Being, c. 1891,” in Impressions of French Modernity, ed. Richard Hobbs (Manchester University Press, 1998), pp. vii; 198, fig. 31.

Malcolm Andrews, Landscape and Western Art, Oxford History of Art (Oxford University Press, 1999), pp. 193, fig. 107; 234.

A. G. Kostenevich, Klod Mone [Claude Monet], exh. cat. (Khudozhnik i Kniga, 2001), pp. 82–83, cat. 30 (ill.).

Norio Shimada and Keiko Sakagami, Kurōdo Mone meigashū: Hikari to kaze no kiseki [Claude Monet: 1881–1926], vol. 2 (Nihon Bijutsu Kyōiku Sentā, 2001), pp. 70, no. 198 (ill.); 189.

Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 162, 167, 183.

Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. 408, fig. 17-11; 409.

Eleanor Dwight, ed., The Letters of Pauline Palmer: A Great Lady of Chicago’s First Family (M. T. Train/Scala, 2005), pp. 290 (ill.), 293, 326.

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. 10.

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. 11 (ill.); 21 (ill.); 22; 103; 108; 156; 159, cat. 79 (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. 11 (ill.); 21 (ill.); 22; 103; 108; 156; 159, cat. 79 (ill.).

John Updike, Always Looking: Essays on Art, ed. Christopher Carduff (Knopf, 2012), pp. 74-75 (ill.).

“Cat. 31: Stack of Wheat, 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 Isidore Montaignac, Paris, May 1899. [1]

Acquired by Mrs. Potter (Bertha Honoré) Palmer, Chicago. [2]

By descent from Mrs. Potter (Bertha Honoré) Palmer (died 1918), Chicago, to the Palmer family. [3]

By descent in the Palmer family to Mrs. Arthur M. (Pauline Palmer) Wood, by Oct. 1951. [4]

Acquired by Acquavella Galleries, New York, probably 1982. [5]

Sold by Acquavella Galleries, New York, to the Art Institute of Chicago, 1983.

NOTES

[1] According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1283 (ill.); 501, the painting may have been sold as Meule, temps gris. According to Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 15; 21, n. 17, the painting was acquired by Bertha Honoré Palmer, Chicago, by 1892.

[2] According to Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 15; 21, n. 17, the painting was acquired by Bertha Honoré Palmer, Chicago, by 1892.

[3] This painting was on loan from the Palmer family to the Art Institute of Chicago, intermittently, by 1930, according to Museum Registration department artists sheets, on file in Museum Registration, Art Institute of Chicago. The painting was put up for sale at Parke-Bernet Galleries, New York, but was bought in. See Parke-Bernet Galleries, Distinguished Paintings by Modern Artists and Works by XIX Century Painters including Renoir, Manet, Van Gogh, Gauguin, Degas, Cezanne, Monet, Seurat, Bonnard, Matisse, Modigliani, Pissarro, Daumier, Corot and Boudin All from Private Owners including the Estate of the Late Potter Palmer Chicago Sold by Direction of the Executors Mrs. Potter Palmer and Henry L. Hollis, Property of a New York Private Collector and Other Owners Sold by their Order, sale cat. (Parke-Bernet Galleries, Mar. 16, 1944, p. 33, lot 46 (ill.). There is an annotated copy of this sale catalogue in the Art Institute of Chicago, Ryerson and Burnham Library, which includes the notation “3900” next to lot. 46. Receipt of object 9219 (on file Museum Registration, Art Institute of Chicago) records the return of the painting to the Art Institute after the sale.

[4] According to shipping out order A647, on file in Museum Registration, Art Institute of Chicago.

[5] According to Tiffany Johnston, Art Institute of Chicago, telephone conversation with Jean Edmonson, Acquavella Galleries, Apr. 26, 2002; see notes in curatorial file, Art Institute of Chicago.




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