Branch of the Seine near Giverny (Mist)

Paris, Galerie George Petit, Exposition Claude Monet, June–July 1898.

Andrè Dombrowski, Monet's Minutes: Impressionism and the Industrialization of Time (New Haven and London: Yale University Press, 2023), 167, 169 fig. 102.

Markus Fellinger, Edwin Becker, Lisa Smit, Renske Suijver, eds., Klimt. Inspired by Van Gogh, Rodin, Matisse, exh. cat. (Munich: Hirmer Verlag Gmbh, 2022), 77, 78 cat. 57, 235.

Amsterdam, Van Gogh Museum, Golden Boy Gustave Klimt. Inspired by Van Gogh, Rodin, Matisse..., Oct. 7, 2022-Jan. 8, 2023, cat. 57; Vienna, Osterreichische Galerie, Klimt. Inspired by Van Gogh, Rodin, Matisse…, Feb. 3-May 29, 2023.

Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 109 cat. 66, 139.

Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 66.

“Cat. 36: Branch of the Seine near Giverny (Mist), from the series ‘Mornings on the Seine,’ 1897” 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.

Helga Kessler Aurisch and Tanya Paul, Monet and the Seine: Impressions of a River, exh. cat. (Houston: Museum of Fine Arts, 2014), 42, 45, 140-141 cat. 44, 144.

Tulsa, OK, Philbrook Museum of Art, Monet and the Seine: Impressions of a River, June 29-September 21, 2014; Museum of Fine Arts, Houston, October 26, 2014-February 1, 2015, cat. 44 (ill.).

Pascal Bonafoux, Monet, peintre de l’eau (Chêne/Hachette, 2010), pp. 136 (ill.), 174.

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. 160–61, cat. 81 (ill.); 163; 167. 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. 160–61, cat. 81 (ill.); 163; 167.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 81 (ill.).

Christoph Becker, “Monet’s Garten,” in Monet’s Garten, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), pp. 60; 62, cat. 34 (ill.). Translated by Fiona Elliot as "Monet’s Garden,” in Monet’s Garden, ed. Christoph Becker, exh. cat. (Kunsthaus Zürich/Hatje Cantz, 2004), pp. 60; 62, cat. 34 (ill.).

Marco Goldin, ed., Monet, la Senna, le ninfee: Il grande fiume e il nuovo secolo, exh. cat. (Linea d’Ombra, 2004), pp. 118–19 (ill.).

Christopher Butler, Pleasure and the Arts: Enjoying Literature, Painting, and Music (Oxford University Press, 2004), pp. 94; pl. 5; 232.

Zurich, Kunsthaus Zürich, Monet’s Garten, Oct. 29, 2004–Mar. 13, 2005, cat. 34 (ill.).

Nicolas de Warren, “Ad Infinitum: Boredom and the Play of Imagination,” in Infinite Possibilities: Serial Imagery in 20th-Century Drawings, exh. cat. (Davis Museum and Cultural Center/University of Washington Press, 2004), p. 11, fig. 6.

Dario Gamboni, Potential Images: Ambiguity and Indeterminacy in Modern Art (Reaktion, 2002), pp. 109; 111, ill. 81; 113; 170; 297.

Charles Stuckey, “Monet e la Senna,” in Monet: I luoghi della pittura, ed. Marco Goldin, exh. cat. (Linea d’Ombra, 2001), p. 63 (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. 153 (ill.).

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.

Art Institute of Chicago, “Homage to Claude Monet,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 24.

Boston, Mass., Richard C. Morrison, Nov. 19, 1948–Dec. 26, 1950, no cat.

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 283.

“News Notes,” Magazine of Art, Akron (Ohio) Art Institute Edition (Nov. 1946), p. iii.

Akron (Ohio) Art Institute, Oct. 18, 1946–Nov. 10, 1947, no cat.

Parke-Bernet Galleries, New York, Valuable Paintings by Modern French and Barbizon Artists and Renaissance Master, Property of a Mid-Western Educational Institution, pt. 2, sale cat. (Parke-Bernet Galleries, May 4, 1944), p. 34, lot 47.

Simonella Condemi and Andrew Forge, Claude Monet: La poesia della luce; Sette capolavori dell’Art Institute di Chicago a Palazzo Pitti, exh. cat. (Giunti, 1999), pp. 42 (detail), 43 (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.).

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 613, cat. 1475 (ill.); 614.

Wildenstein 1996 states this painting was sold by the artist to Durand-Ruel in 1913, which is not mentioned in the Durand-Ruel Archives]

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 108 (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 53–55; 94, pl. 23; 108.

Paul Hayes Tucker, Claude Monet: Life and Art (Yale University Press, 1995), pp. 158; 162, pl. 185.

Natasha Staller, “Babel: Hermetic Languages, Universal Languages and Anti-Languages in Fin de Siècle Parisian Culture,” Art Bulletin 76, 2 (June 1994), p. 338, fig. 8.

Martha Kapos, ed., The Post-Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1993), p. 41, pl. 9.

Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 31 (ill.).

Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 78 (ill.); Art Institute of Chicago, May 19–August 12, 1990; London, Royal Academy of Arts, September 7–December 9, 1990 [Boston and Chicago only].

Paul Hayes Tucker, Monet in the ’90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 219; 220, pl. 82; 223; 299, cat. 78.

Richard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), pp. 221 (ill.), 320.

Grace Seiberling, Monet in London, exh. cat. (High Museum of Art/University of Washington Press, 1988), p. 14, fig. 9.

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 183 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 210; 211, cat. 1475 (ill.).

Grace Seiberling, “Monet’s Series” (Ph.D. diss., Yale University, 1976), pp. 189; 335, n. 1.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 99 (ill.).

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 37.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 156, cat. 99 (ill.).

Art Institute of Chicago, The Artist Looks at the Landscape, June 22–Aug. 25, 1974, no cat.