Stack of Wheat (Thaw, Sunset)

Possibly Paris, Galeries Durand-Ruel, Exposition d’oeuvres récentes de Claude Monet, May 1891, cat. 12, as Meule. (Fin du jour.). New York, Fine Arts Society Building, Loan Exhibition, Feb. 1893, cat. 41, as The Haystack —Thaw. Lent by Mr. M. Knoedler. New York, Durand-Ruel Galleries, Exposition of Forty Paintings by Claude Monet, Jan. 12–27, 1895, cat. 44, as “Meule—Dégel—Soleil couchant.” 1891. Boston, St. Botolph Club, Exhibition of Paintings by Claude Monet, Feb. 4–16, 1895, cat. 11, as Meule. Le Degel. Soleil couchant. 1891. Munich, Kunstausstellungsgebäude, Internationalen Kunst-Ausstellung: Secession, 1900, cat. 195, as Heuschober. Untergehende Sonne. Berlin, Paul Cassirer, XI. Jahrgang. VI Ausstellung, Jan. 22–Feb. 22, 1909, cat. 8, as Heuschober bei Sonnenuntergang. Copenhagen, Musée Royal de Copenhague, Exposition d’art français du XIXe siècle, May 15–June 30, 1914, cat. 149, as Höstak. Solnedgant.—Meule: soleil couchant (1891). Galeries Durand-Ruel. Possibly Paris, Galeries Durand-Ruel, Tableaux par Claude Monet, Mar. 2–28, 1914, cat. 43, as Meules, soleil couchant. 1891. Arts Club of Chicago, Paintings by Cl. Monet in Retrospect 1868–1913, Jan. 6–31, 1933, cat. 11. Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 110 (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 (Los Angeles and Chicago only). Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 28 (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, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 100 (ill.). Moscow, State Pushkin Museum of Fine Arts, Klod Mone [Claude Monet], Nov. 26, 2001–Feb. 21, 2002, cat. 31 (ill.); Saint Petersburg, State Hermitage Museum, May 1–15, 2002. Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 80 (ill.). Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 53.

Possibly Galeries Durand-Ruel, Paris, Exposition Claude Monet, exh. cat. (Galeries Durand-Ruel, 1891), p. 16, cat. 12. Fine Arts Society, Catalogue: Loan Exhibition, exh. cat. (Fine Arts Society, [1893]), p. 39, cat. 41. American Art Association, Catalogue of Modern Paintings Belonging to M. Knoedler & Co. Successors to Goupil & Co. to be Sold by Absolute Auction to Settle the Estate of the Late John Knoedler (American Art Association, 1893), p. 32, lot 77, (as The Haystack, Thaw). Durand-Ruel Galleries, New York, Exposition of Forty Paintings by Claude Monet, exh. cat. (Durand-Ruel, 1895), cat. 44. St. Botolph Club, Boston, Exhibition of Paintings by Claude Monet, exh. cat. (St. Botolph Club, 1895), cat. 11. Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (E. V.), “Secession” 1900, exh. cat. (F. Bruckmann, [1900]), p. 22, cat. 195. Karl Voll, “Die Internationale Kunstausstellung 1900 der Münchener Secession,” Die Kunst für Alle: Malerei, Plastik, Graphik, Architektur 15, 21 (Aug. 1, 1900), p. 485. Possibly Galeries Durand-Ruel, Paris, Tableaux par Claude Monet, exh. cat. (Galeries Durand-Ruel, 1914), cat. 43. Musée Royal de Copenhague, Exposition d’art français du XIXe siècle, exh. cat. (Dansk Kunstmuseums Forening, 1914), p. 37, cat. 149. Gustave Geffroy, Claude Monet, sa vie, son temps, son oeuvre (Paris, 1922), opp. p. 240 (ill.). Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 193, fig. 90. Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 38; 142; 143, cat. 1284 (ill.). Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1979), p. 79, n. 726 (cat. 1284). Art Institute of Chicago, “Acquisitions,” Mosaic (July–Aug. 1983), p. 8 (ill.). Art Institute of Chicago, Art Institute of Chicago Annual Report 1982-83 (Art Institute of Chicago, 1983), pp. 5, fig. 6; 12. Art Institute of Chicago, A Record of Sharing with Chicago’s Masterpiece, annual report supplement (Art Institute of Chicago, [1983]), p. 15 (ill.). Robert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 161 (ill.), 163. “French Paintings Recently Acquired by the Art Institute of Chicago,” Burlington Magazine 76, 976 (July 1984), p. 465, fig. 91. Art Institute of Chicago, Art Institute of Chicago Museum Studies, 11, 1 (Fall 1984), front cover (detail), p. 2. Richard R. Brettell, “Monet’s Haystacks Reconsidered,” Art Institute of Chicago Museum Studies 11, 1 (Fall 1984), pp. 4–5, pl. 1; 6; 7; 12; 16–17, fig. 12 (ill.); 19; 21, n. 6. 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 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; 269, no. 110 (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. 110 (ill.). Richard R. Brettell, Post-Impressionists (Art Institute of Chicago, 1987), pp. 35, 38 (ill.); 118. Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 3; 77; 81; 88, pl. 27; 296, cat. 28. Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 311, pl. 101. 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. 58 (ill.); 67, n. 13. Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), pp. 48, cat. 1284; 200, letters 2833, 2835–2837. Richard Shiff, “‘Il faut que les yeux soient émus’: Impressionisme et symbolism vers 1891,” Revue de l’art 96 (1992), p. 27, fig. 3. Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 44; 49; 90, pl. 19; 108. Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 121, cat. 100 (ill.); 226; 227; 245. Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 274–75, cat. 1284 (ill.); 275. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 495, cat. 1284 (ill.); 501. John Sallis, Shades—Of Painting at the Limit (Indiana University Press, 1998), n. pag., pl. 11; 54–55. T. J. Clark, Farewell to an Idea: Episodes from a History of Modernism (Yale University Press, 1999), pp. 76; 110, fig. 57; 111. 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), pp. 134–35 (ill.). A. G. Kostenevich, Klod Mone [Claude Monet], exh. cat. (Khudozhnik i Kniga, 2001), pp. 84, cat. 31 (ill.); 85 (detail). Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 161, 167, 183. Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 11 (ill.), 78–79 (ill.), 128. 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. 5. 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. 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. 21 (ill.), 22; 103; 108; 156; 159, cat. 80 (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; 159, cat. 80 (ill.). “Cat. 32: Stack of Wheat (Thaw, Sunset), 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), 33, 96 cat. 53, 137.