Stacks of Wheat (End of Day, Autumn)

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 24. Toledo (Ohio) Museum of Art, Artists Unappreciated in Their Day, Nov. 5–Dec. 10, 1939, cat. 16 (ill.). Seattle Art Museum, Volunteer Park, Exhibition Monet and Pissarro, Nov. 21, 1944–Jan. 24, 1945, no cat. Englewood (Ill.) High School, Feb. 6–Mar. 6, 1945, no cat. Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no. New York, Museum of Modern Art, Claude Monet: Seasons and Moments, Mar. 9–May 15, 1960, cat. 48 (ill.); Los Angeles County Museum of Art, June 14–Aug. 7, 1960. Iowa City, University of Iowa Gallery of Art, Impressionism and Its Roots, Nov. 8–Dec. 6, 1964, cat. 35 (ill.). Pasadena (Calif.) Art Museum (sponsored by the Art Alliance), Serial Imagery, Sept. 17–Oct. 27, 1968, cat. 1; Seattle, Henry Art Gallery, University of Washington, Nov. 17–Dec. 22, 1968; Santa Barbara (Calif.) Museum of Art, Jan. 25–Feb. 23, 1969 (Seattle only). Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 85 (ill.). New York, Metropolitan Museum of Art, Monet’s Years at Giverny: Beyond Impressionism, Apr. 19–July 9, 1978, cat. 15 (ill.); Saint Louis Art Museum, Aug. 1–Oct. 8, 1978. Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 105 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition, Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985. Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, Oct. 17–Dec. 14, 1986, not in cat. Leningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 31; Moscow, Pushkin Museum, June 10-July 30, 1988. Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 18 (ill.); Art Institute of Chicago, May 19–August 12, 1990; London, Royal Academy of Arts, September 7–December 9, 1990 [Boston and Chicago only]. Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1–Jan. 9, 1994, not in cat. Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 98 (ill.). Baltimore Museum of Art, In Monet’s Light: Theodore Robinson at Giverny, Oct. 17, 2004–Jan. 9, 2005, no cat. no. (ill.); Phoenix Museum of Art, Feb. 6–May 8, 2005; Hartford, Conn., Wadsworth Atheneum, June 4–Sept. 4, 2005. Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 76 (ill.). Sydney, Art Gallery of New South Wales, Paths to Abstraction 1867–1917, June 26–Sept. 19, 2010, no cat. no. (ill.). Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 57.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 19–20, cat. 24. Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), p. 66. Toledo Museum of Art, Catalogue: Artists Unappreciated in their Day, exh. cat. (Toledo Museum of Art, 1939), pp. 2; 27, cat. 16 (ill.). Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33. William C. Seitz, Claude Monet: Seasons and Moments, exh. cat. (Museum of Modern Art, New York/Los Angeles County Museum of Art/Doubleday, 1960), pp. 25 (ill.); 61, cat. 48. Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 321. John Rewald, The History of Impressionism, rev. ed. (Museum of Modern Art, New York, 1961), p. 563 (ill.). Frank Seiberling, “A Guide to the Exhibition,” in University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), p. 7. University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), pp. 40–41, cat. 35 (ill.). Katharine Kuh, Break-up: The Core of Modern Art (New York Graphic Society, 1965), pp. 16–18, pl. 2; 134. John Coplans, Serial Imagery, exh. cat. (Pasadena Art Museum, 1968), p. 139, cat. 1. Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 32, 33. Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 142, cat. 85 (ill.). Metropolitan Museum of Art, Monet’s Years at Giverny: Beyond Impressionism, exh. cat. (Metropolitan Museum of Art, New York, 1978), pp. 58, cat. 15 (ill.); 156. Daniel Wildenstein, “Monet’s Giverny,” in Metropolitan Museum of Art, Monet’s Years at Giverny: Beyond Impressionism, exh. cat. (Metropolitan Museum of Art, New York, 1978), p. 21. Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 38; 138; 139, cat. 1270 (ill.). Grace Seiberling, Monet’s Series (Garland, 1981), pp. 97; 357, no. 14; 421, fig. 13. J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Cross River, 1979), pp. 60–61 (ill.). Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 183, 213 (ill.), 437. Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 6; 12–13, pl. 4; 21, nn. 6, 7, 17, 20. 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. 260; 262; 264, cat. 105 (ill.); 364. Richard R. Brettell, “La campagne française,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 282–84, cat. 105 (ill.); 285–91. John House, “Monet and the Genesis of His Series,” in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI, 1985), pp. 19; 20, fig. 10; 21. John House, Monet: Nature into Art (Yale University Press, 1986), p. 27, pl. 33. Helen Langdon, Impressionist Seasons (Phaidon, 1986), p. 56, pl. 21. Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 35, 36 (ill.), 118. Ministry of Culture, SSSR; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French Painting of the Nineteenth to the Beginning of the Twentieth Century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), pp. 84–85, cat. 31 (ill.). Janet M. Brooke, Discerning Tastes: Montreal Collectors, 1880–1920, exh. cat. (Montreal Museum of Fine Arts, 1989), pp. 135; 136, fig. 64; 137, n. 9; 215, no. 882. Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 3; 77; 79, pl. 21; 296, cat. 18. John Sallis, “Monet’s Grainstacks: Shades of Time,” Tema Celeste International Art Magazine 30 (Mar.–Apr. 1991), p. 67, n.12. Anne Rorimer, “The Date Paintings of On Kawara,” Art Institute of Chicago Museum Studies 17, 2 (1991), p. 122, fig. 2. Virginia Spate, Claude Monet: Life and Work (Rizzoli/Thames & Hudson, 1992), pp. 207; 209, ill. 224. Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 44; 49; 87, pl. 16; 108. Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 119, cat. 98 (ill.) Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 266–67, cat. 1270 (ill.); 275. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 483; 485, cat. 1270 (ill.). Karin Sagner-Düchting, “Monet’s Late Work from the Vantage Point of Modernism,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), p. 25. Gottfried Boehm, “‘Work’ and ‘Series’: Problems in Modern Conceptions of Pictorial Structure Since Monet,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), pp. 154–55 (ill.). Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 161, 166, 183. Sona Johnston, In Monet’s Light: Theodore Robinson at Giverny, with an essay by Paul Tucker, exh. cat. (Baltimore Museum of Art/Philip Wilson, 2004), pp. 162, fig. 1; 163. Norio Shimada, Inshoha bijutsukan [The history of Impressionism] (Shogakukan, 2004), p. 279 (ill.). Barry Venning, “Turner, Monet e l’impressionismo,” in Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, ed. Marco Goldin, exh. cat. (Linea d’Ombra, 2006), p. 76 (ill.). Norio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 89 (ill.). Akiko Mabuchi, “Monet—découverte du corps et des sensations” (trans. from the Japanese by Erika Peschard-Erlih), in National Art Center, Tokyo, Monet: L’art de Monet et sa postérité, exh. cat. (National Art Center, Tokyo, 2007), pp. 29, fig. 20; 30; 246. 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. 127. 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; 103; 108; 156; 157, cat. 76 (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; 103; 108; 156; 157, cat. 76 (ill.). Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismus: Wie das Licht auf die Leinwand kam, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 23, abb. 9; 26. Translated as Painting Light: The Hidden Techniques of the Impressionists, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 23, ill. 9; 26. Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismo: Dipingere la luce, Le tecniche nascoste de Monet, Renoir e Van Gogh, ed. Monica Maroni, exh. cat. (Fondazione Palazzo Strozzi/Wallraf-Richartz-Museum & Foundation Corboud/Skira, 2008), pp. 23, ill. 9; 26. Christie’s, London, Post-War and Contemporary Art, sale cat. (Christie’s, July 1, 2010, day auction), p. 126 (ill.). Terence Maloon, ed., Paths to Abstraction, 1867–1917, exh. cat. (Art Gallery of New South Wales, 2010), p. 108 (ill.). John Updike, Always Looking: Essays on Art, ed. Christopher Carduff (Knopf, 2012), pp. 74–75 (ill.). “Cat. 28: Stacks of Wheat (End of Day, Autumn), 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, 100 cat. 57, 137, 138 under cat. 58. Andrè Dombrowski, Monet's Minutes: Impressionism and the Industrialization of Time (New Haven and London: Yale University Press, 2023), 154–55 fig. 91, 156. Harmon Siegel, Painting with Monet (Princeton and Oxford: Princeton University Press, 2024), 51, 52 fig. 1.25.