Stacks of Wheat (End of Summer)

Paris, Galeries Durand-Ruel, Exposition d’oeuvres récentes de Claude Monet, May 1891, cat. 1, as Meules. (Fin de l’été.). Appartient à M. Durand-Ruel. Boston, Copley Society, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin, Mar. 1905, cat. 9, as Meules. Fin de l’Eté. 1891. Lent by Mrs. Potter Palmer. Possibly Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, May 10–Aug., 1910, cat. 34, as Haystacks. Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 88 (ill.). Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 108 (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. Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 17 (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, 1993–Jan. 9, 1994, not in cat. Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 97 (ill.). 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.). Hamburg, Hamburger Kunsthalle, Monets Vermächtnis: Serie—Ordnung und Obsession, Sept. 28, 2001–Jan. 6, 2002, no cat. no. (ill.). Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 75 (ill.). Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 52.

Galeries Durand-Ruel, Exposition d’oeuvres récentes de Claude Monet, exh. cat. (Galeries Durand-Ruel, 1891), p. 13, cat. 1. “Claude Monet Exhibit Opens,” Boston Post, Mar. 15, 1905. Copley Society, Boston, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by August Rodin, exh. cat. (Copley Society, 1905), p. 13, cat. 9. Possibly Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, exh. cat. (Art Institute of Chicago, 1910), cat. 34. Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat (Art Institute of Chicago, 1975), p. 32, 33. Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 145, cat. 88 (ill.). Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 38; 42, n. 1032; 47, n. 1086; 138; 139, cat. 1269 (ill.); 262, letter 1114. Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 7; 10, fig. 1; 11; 16, pl. 6; 19; 21, n. 6, n. 7, n. 17. 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; 260–62; 267, no. 108 (ill.). 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. 261; 282–91, no. 108 (ill.). Art Institute of Chicago, Art Institute of Chicago Annual Report, 1985-86 (Art Institute of Chicago, 1986), pp. 6, pl. 8; 28; 71. Art Institute of Chicago, “Acquisitions,” Mosaic (Mar.–Apr. 1986), p. 8 (ill.). Art Institute of Chicago, Annual Report, 1986–1987 (Art Institute of Chicago, 1987), p. 56. Yvon Taillandier, Monet, rev. ed. (Crown, 1987), p. 67 (ill.). Paul Hayes Tucker, Monet in the ’90s : The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 3; 77; 78, pl. 20; 79; 80; 82; 296, cat. 17. Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Benedikt Taschen, 1990), pp. 159, 161 (ill.). 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. 62; 67, n. 2. Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 47. Serge Bonnet, D’une fenaison à l’autre (Gérard Klopp, 1992), cover (ill.). George Keyes, “Claude Monet’s Grainstack, Sun in the Mist,” Arts 16, 12 (Dec. 1993), contents page (detail), p. 8 (ill.). Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 44; 48; 49; 86, pl. 15; 108. Jon Margolis, “When Paintings Talk . . . ,” Chicago Tribune Magazine, Sept. 17, 1995, p. 21 (ill.). Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 118, cat. 97 (ill.); 220; 237. John Russell Taylor, Claude Monet: Impressions of France, from Le Havre to Giverny (Collins & Brown, 1995), pp. 106–07 (ill.). Marietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), p. 27, fig. 1-41a. Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 266, cat. 1269 (ill.); 275. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 483; 485, cat. 1269 (ill.). Anne-Marie Bergeret-Gourbin, Monet: La Normandie (Herscher, 1997), pp. 54–55 (ill.). Masaki Fujihata and Yasuhito Nagahara, Kara azu a konseputo [Color as a concept] (Bijutsu Shuppan-Sha, 1997), pp. 34–35 (ill.), 160. John Sallis, Shades—of Painting at the Limit (Indiana University Press, 1998), n.pag., pl. 2; 26, n. 13; 46. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), p. 68 (ill.). 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. 34–35 (ill.), 36–37 (detail). 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. 132 (ill.). Christoph Heinrich, “Une série d’effets différents: Monets ‘Getreideschober’ als Hülle für das Licht, die Zeit, das Universum—und ‘die märchenhafte Kraft und Pracht der Malerei,’” in Monets Vermächtnis: Serie—Ordnung und Obsession, ed. Christoph Heinrich, exh. cat. (Hamburger Kunsthalle/Hatje Cantz, 2001), p. 17. Christoph Heinrich, ed., Monets Vermächtnis: Serie—Ordnung und Obsession, exh. cat. (Hamburger Kunsthalle/Hatje Cantz, 2001), pp. 59 (detail), 62 (ill.), 183. Phillips, New York, Impressionist and Modern Art, sale cat. (Phillips, May 7, 2001), p. 86, fig. 1. 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. 67, no. 195 (ill.); 189. Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 161, 166, 183. Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood, rev. ed. (Art Institute of Chicago, 2003), p. 165 (ill.). Rhoda Feldman, “Art-Science Integration: Portrait of a Residency” (Ph.D. diss., University of Illinois at Urbana-Champaign, 2003), pp. 274; 275, fig. 7. 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. 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; 157, cat. 75 (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; 157, cat. 75 (ill.). Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismus: Wie das Licht auf die Leinwand kam, exh. cat. (Wallraf-Richartz-Museum and Fondation Corboud/Skira, 2008), pp. 23, abb. 8; 26. Translated as Painting Light: The Hidden Techniques of the Impressionists, exh. cat. (Wallraf-Richartz-Museum and Fondation Corboud/Skira, 2008), pp. 23, ill. 8; 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 and Foundation Corboud/Skira, 2008), pp. 23, ill. 8; 26. 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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), 33, 95 cat. 52, 137-38. 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, 53 fig. 1.26. James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 88 (ill.). Adriano Pedrosa and Fernando Oliva, eds., Monet's Ecology, exh. cat. (São Paulo: Museu de Arte de São Paulo Assis Chateaubriand, 2005), 70, 73 fig. 46 Gloria Groom, "A Stack for Every Season" in Highlights of the Art Institute of Chicago, James Rondeau, ed. (New Haven and London: Yale University Press, 2026), 122–24, fig. 1.