Poppy Field (Giverny)

New York, Fine Arts Society Building, Loan Exhibition, Feb. 1893, cat. 40, as Champ des Coquelicots, Lent by Mr. Durand-Ruel. New York, Durand-Ruel Galleries, Exposition of Forty Paintings by Claude Monet, Jan. 12–27, 1895, cat. 3, as Coquelicots. 1891. Possibly Boston, St. Botolph Club, Exhibition of Paintings by Claude Monet, Feb. 4–16, 1895, cat. 25, as Coquelicots. 1891. Buffalo (N.Y.), Library Building, Buffalo Society of Artists, Fifth Annual Exhibition, Mar. 23–Apr. 11, 1896, cat. 57 (ill.), as Landscape, Durand-Ruel. Possibly Pittsburgh, Carnegie Institute, Second Annual Exhibition, Nov. 4, 1897–Jan. 1, 1898, cat. 156, as Red Poppies. Possibly Omaha, Neb., Trans–Mississippi and International Exposition, Fine Arts Exhibit, June 1–Nov. 1, 1898, cat. 378, as Coquelicots. Loaned by Durand–Ruel, Paris. Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no. Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 84 (ill.). Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 13 (ill.). Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 103 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985, cat. 102 (ill.). Auckland City Art Gallery, Claude Monet: Painter of Light, Apr. 29–June 9, 1985, cat. 20 (ill.); Sydney, Art Gallery of New South Wales, June 21–Aug. 4, 1985; Melbourne, National Gallery of Victoria, Aug. 14–Sept. 29, 1985. Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 12 (ill.); Art Institute of Chicago, May 19–August 12, 1990; London, Royal Academy of Arts, September 7–December 9, 1990. Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 95 (ill.). Omaha, Neb., Joslyn Art Museum, On View to the World: Paintings at the Trans-Mississippi Exposition, 1898, May 30–Aug. 16, 1998, no cat. Florence, Sala Bianca di Palazzo Pitti, Claude Monet: La poesia della luce; Sette capolavori dell’Art Institute di Chicago a Palazzo Pitti, June 2–Aug. 29, 1999, no cat. no. (ill.). Staatsgalerie Stuttgart, Claude Monet: Effet de soleil—Felder im Frühling, May 20–Sept. 24, 2006, cat. 30 (ill.). Musée d’Art Américain Giverny/Terra Foundation for American Art, Impressionist Giverny: A Colony of Artists, 1885–1915, Apr. 1–July 1, 2007, no. cat. no. (ill.); San Diego Museum of Art, July 22–Oct. 1, 2007 (Giverny only). Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 74 (ill.). Art Institute of Chicago, John Singer Sargent and Chicago's Gilded Age, June 27-Septembet 30, 2018. Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 51.

American Fine Arts Society, Catalogue: Loan Exhibition, exh. cat. (Fine Arts Society Building, 1893), p. 39, cat. 40. Durand-Ruel Galleries, New York, Exposition of Forty Paintings by Claude Monet, exh. cat. (Durand-Ruel, 1895), cat. 3. Possibly St. Botolph Club, Exhibition of Paintings by Claude Monet, exh. cat. (St. Botolph Club, 1895), cat. 25. Georges Clemenceau, “Révolution de cathédrales,” La justice, May 20, 1895, p. 1. Georges Clemenceau, Le grand Pan (Charpentier, 1896), p. 431. Buffalo, N.Y., Society of Artists, Catalogue of the Fifth Annual Exhibition, exh. cat. (Buffalo Society of Artists, 1896), p. 15, cat. 57 (ill.). Possibly Carnegie Institute, Pittsburgh, Second Annual Exhibition, exh. cat. (Carnegie Art Galleries, 1898), cat. 156. Possibly Trans-Mississippi and International Exposition, Official Catalogue of Fine Arts Exhibit, Illustrated, exh. cat. (Klopp & Bartlett Co., 1898), p. 88, cat. 378. Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, pt. 2, Paintings and Drawings (Art Institute of Chicago, 1920), p. 60, cat. 762. Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 7 (Dec. 1922), p. 98. M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago19, 2 (Feb. 1925), p. 19. Georges Clemenceau, Claude Monet, les Nympheas (Librairie Plon, 1928), p. 85. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1932), p. 164, cat. 22.4465. Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 289. Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), pp. 33. Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 321. Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 141, cat. 84 (ill.). Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), p. 132; 133, cat. 1253 (ill.). Robert Herbert, “Method and Meaning in Monet,” Art in America 67, 5 (Sept. 1979), pp. 98, 102. Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 33, cat. 12 (ill.); 67. 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 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. 256; 260; 261, no. 103 (ill.). Richard Brettell, “La champagne française,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 276; 278; 279, no. 102 (ill.). Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), pp. 176; 192, pl. 80. Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI, 1985), pp. 80–81, cat. 30 (ill.). John House, Monet: Nature into Art (Yale University Press, 1986), pp. 197–98; 199, fig. 251. Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 82 (ill.), 83, 118. Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 71; 76, pl. 19; 273, n. 12; 295, cat. 12. Anna Barskaïa and Evguenia Gueorguievskaïa, Claude Monet: Tableaux des musées d’URSS, introduction by Nina Kalitina, trans. Dominique Maliarevitch-Millot and Olga Mandryka (Cercle d’Art, 1990), p. 112. Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 200, letter 2837. Sylvie Patin, Monet: “Un oeil . . . mais, bon Dieu, quel oeil!” (Gallimard/Réunion des Musées Nationaux, 1991), pp. 102 (ill.), 103 (detail), 172. Translated by Anthony Roberts as Monet: The Ultimate Impressionist (Abrams, 1993), pp. 102 (ill.), 103 (detail), 171. Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 43–44; 85, pl. 14; 108. Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 116, cat. 95 (ill.); 226; 227. Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 262 (ill.), 273. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 477, cat. 1253 (ill.); 478. Heide Michels, Monet’s House: An Impressionist Interior, trans. Helen Ivor (Clarkson Potter, 1997), pp. 80–81 (ill.). Christopher Burbach, “Joslyn Show: Art of 1898 Expo,” Morning World-Herald, June 2, 1998, pp. 35, 37. Simonella Condemi and Andrew Forge, Claude Monet: La poesia della luce; Sette capolavori dell’Art Institute di Chicago a Palazzo Pitti, exh. cat. (Giunti Gruppo, 1999), pp. 32, 33 (ill.). 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), p. 131 (ill.). Susan G. Larkin, American Impressionism: The Beauty of Work, with entries by Susan G. Larkin and Arlene Katz Nichols, exh. cat. (Bruce Museum of Arts and Science, 2005), p. 46, fig. 37. Christofer Conrad, “From Impression to Organization of the Picture,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), pp. 96–97, fig. 70; 100. Christian von Holst, “Travel Impressions,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), pp. 38; 41, fig. 18. Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), pp. 116–17 (detail); 157, cat. 30; 163. Katherine M. Bourguignon, ed., Impressionist Giverny: A Colony of Artists, 1885–1915, exh. cat. (Terra Foundation for American Art/Musée d’Art Américain Giverny/University of Chicago Press, 2007), pp. 77, 89 (ill). Margaret Werth, “‘A Long Entwined Effort’: Colonizing Giverny,” in Impressionist Giverny: A Colony of Artists, 1885–1915, ed. Katherine M. Bourguignon, exh. cat. (Terra Foundation for American Art/Musée d’Art Américain Giverny/University of Chicago Press, 2007), p. 59. 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 and Co., 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. 22; 154 (detail); 155, cat. 74 (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. 22; 154 (detail); 155, cat. 74 (ill.). “Cat. 26: Poppy Field (Giverny), 1890/91,” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470 . Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 20, 31, 92 (detail ill.), 93 cat. 51, 137.