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About This Artwork
Branch of the Seine near Giverny (Mist), from the series "Mornings on the Seine", 1897
Oil on canvas
89.9 x 92.7 cm (35 3/8 x 36 1/2 in.)
Inscribed lower left: Claude Monet 97
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1156
Wildenstein, Claude Monet, cat rais. 1996 1475; Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1475
As part of an effort to shape the future of scholarly publishing, the Getty Foundation in 2009 invited the Art Institute of Chicago and eight other museums to participate in a venture called the Online Scholarly Catalogue Initiative (OSCI). The Art Institute is pleased to present the first catalogue produced from this venture: Monet: Paintings and Drawings at the Art Institute of Chicago, which includes this work. Entries on the museum's 47 artworks by Monet include high-resolution imaging, in-depth curatorial essays, and conservation reports.
Claude Monet painted the 18 works in his Mornings on the Seine series from a flat-bottomed boat anchored to the riverbank where the Epte River flows into the Seine. There, as the light changed from dawn to day, he worked on one canvas after another. To keep them in order, he numbered them, placed them in grooves built into the boat, and had the gardener whom he enlisted as his assistant hand them to him.
— Permanent collection label
Paris, Galerie George Petit, Exposition Claude Monet, June 1898, cats. 41-43 or 47-48 as Bras de Seine, près Giverny (Brouillard), 1897.
New York, Durand-Ruel Galleries, Claude Monet, December 1916, cat. 10.
Toledo, Museum of Art, Catalogue: Paintings by French Impressionists and Post-Impressionists, November 7-December 12, 1937, n.p. cat. 15 (ill.), as Morning on the Seine.
Akron Art Institute, October 1946-November 1947.
The Art Institute of Chicago, The Artist Looks at the Landscape, June 22-August 25, 1974, no cat.
The Art Institute of Chicago, Paintings by Monet, March 15-May 11, 1975, pp. 37, 156 cat. 99 (ill.), as Morning on the Seine/La Seine au matin, 1897.
Boston, Museum of Fine Arts, Monet in the ‘90’s: The Series Paintings, February 7-April 29, 1990, pp. 220, 299 cat. 78, pl. 82 (ill.) as Morning on the Seine, near Giverny (Mist), 1896-97.
Chicago, Art Institute, Claude Monet: 1840-1926, July 22-November 26, 1995, pp. 129, 230, 247 cat. 108 (ill.) as Branch of the Seine near Giverny (Mist), from the Mornings on the Seine Series, 1897.
Florence, Sala Bianca di Palazzo Pitti, Claude Monet: La poesia della luce, July 2-Auguast 29, 1999, pp. 42-43 (ill.) as Mattino sulla Senna a Giverny, 1897.
Zurich, Kunsthaus, Monet’s Garden, October 29, 2004-February 29, 2005, pp. 60, 62, 197 cat. 34 (ill.) as Matinee sur la Seine/Branch of the Seine near Giverny (Mist) from the “Morning on the Seine” series, 1897.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 81 (ill.).
M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (February 1925), p. 20 as Morning on the Seine, 1897.
“News Notes,” Magazine of Art: Akron Art Institute Edition (November 1946), p. iii as A Morning on the Seine.
Oscar Reuterswärd, Monet (1948), p. 238.
Art Institute, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 321 as Morning on the Seine.
Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné (Paris, 1974-85), vol. 3, p. 210 cat. 1475 (ill.) as Matinée sur al Seine, 1897.
Charles F. Stuckey, Monet: A Retrospective (New York, 1985), p. 1893 (ill.) as A Morning on the Seine, circa 1897.
Grace Seiderling, Monet in London, exh. cat. (Atlanta, 1988), p. 14 fig. 9 (ill.) as A Morning on the Seine, 1897.
Richard Kendall, Monet by Himself: Paintings, drawings, pastels, letters (London, 1989), trans. by Bridget Strevens Romer, pp. 12, 320, pl. 221 (ill.) as Morning on the Seine, 1897.
Michael Clarke, Corot and the Art of Landscape (London, 1991), p. 121 as Mornings on the Seine,
Natasha Staller, “Babel: Hermetic Languages, Universal Languages and Anti-Languages in fin de siècle Parisian Culture,” in Papers in Art History from the Pennsylvania State University: The Art of Interpreting (1991).
Martha Kapos, The Impressionists: A Retrospective (London, 1991), pp. 31, 297, 299 (ill.) as A Morning on the Seine, c. 1897.
Martha Kapos, The Post-Impressionists: A Retrospective (London, 1993), p. 41 pl. 9 (ill.) as Morning on the Seine, 1896-97.
Andrew Forge, Monet (Chicago, 1995), pp. 53-55, 94, 108 pl. 23 (ill.) as Mornings on the Seine, Giverny, 1897.
John Santrock, Psychology, 5th ed. (Brown & Benchmark Publishers, 1996).
Art Institute, Impressionism and Post-Impressionism (Chicago, 2000), p. 153 (ill.) as Branch of the Seine near Giverny (Mist), from the Mornings on the Seine series, 1897.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 81, pp. 160-61 (ill.).
Acquired from the artist by Durand-Ruel, Paris in 1913 [according to Wildenstein 1996], Martin A. Ryerson (died 1932), Chicago, 1916 [according to Wildenstein 1996]; bequeathed to the Art Institute, 1933; New York, Parke Bernet, Sale, May 4, 1944, lot 47, as Matin sur la Seine, withdrawn; the Art Institute.