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Series of paintings by Claude Monet

This article is about a series of paintings by Claude Monet. For the English loma, meet Haystacks (Lake Commune).

Wheatstacks (Stop of Summer)
Artist	Claude Monet
Year	1890–91
Medium	Oil on canvas
Dimensions	60 cm × 100 cm (23+ 5⁄8  in ×39+ 3⁄8  in)
Location	Art Plant of Chicago

Haystacks is the common English title for a serial of impressionist paintings past Claude Monet. The principal field of study of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny , just means The Stacks at Giverny ). The title refers primarily to a twenty-v canvas series (Wildenstein Index Numbers 1266–1290) which Monet began almost the end of the summertime of 1890 and connected through the post-obit spring, though Monet also produced five earlier paintings using this same stack subject.

The serial is famous for the way in which Monet repeated the same field of study to show the differing low-cal and atmosphere at different times of twenty-four hours, across the seasons and in many types of weather.

The series is amid Monet's virtually notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago.^[ane] Other collections include the Museum of Fine Arts, Boston,^{[2] [3]} the Metropolitan Museum and Museum of Modern Fine art in New York, the National Museum of Western Fine art in Tokyo, ^[4] and the Musée de fifty'Orangerie in Paris. The Fine art Institute of Chicago collection includes six of the twenty-v Haystacks.^[5]

Other museums that hold parts of this series include the Getty Center in Los Angeles,^[vi] the Colina-Stead Museum in Farmington, Connecticut (which also has 1 of 5 from the earlier 1888–89 harvest),^[7] the Scottish National Gallery,^[viii] the Minneapolis Constitute of Arts,^[nine] Kunsthaus Zürich, Tel Aviv Museum of Fine art and the Shelburne Museum, Vermont.^[10] Private collections hold the remaining Haystacks paintings.

Monet groundwork [edit]

Monet settled in Giverny in 1883. Well-nigh of his paintings from 1883 until his decease 40 years subsequently were of scenes within iii kilometres (2 mi) of his home and gardens. Monet was intensely aware of and fascinated by the visual nuances of the region's landscape and by the endless variations in the days and in the seasons—the stacks were just outside his door.^[11]

Monet had previously painted a single subject field in dissimilar light and different moods. However, as he matured as a painter, his depictions of atmospheric influences were increasingly concerned not only with specific effects but with the overall color harmonies that allowed him an autonomous apply of rich color.^[12] The conventional wisdom was that the stacks were a simple subject but as well an unimaginative one. However, gimmicky writers and friends of the creative person noted that Monet's subject thing was always advisedly chosen, the product of careful thought and analysis.^[thirteen] Monet undertook to capture the stacks in direct light and then to re-examine them from the same view-point in different, oft more muted, low-cal and atmospheric weather condition. Information technology was then not unusual for Monet, in search of harmonious transitions inside the series, to alter the canvases back in his studio.^[14]

Series background [edit]

The stacks depicted in the series are ordinarily referred to in English language as hay, wheat or grain-stacks. In reality they stored sheafs of grain primarily for staff of life—and so wheat [or possibly barley or oats]—and not hay, an animal nutrient. The ten-to-xx-human foot (iii.0 to half dozen.1 g) stacks were a way of keeping the sheafs dry out until the grain could be separated from the stalks by threshing.^[15] The local method of storing and drying unthreshed-grains was to utilize straw, or sometimes hay, equally a thatched 'roof' for the stack, shielding the wheat, barley or oats from the elements until, in one case dry out-enough, they could exist threshed. The threshing machines then traveled from village to hamlet. Thus, although the grain was harvested and the stacks were built past July, it often took until the following spring or even afterward—then through all the low-cal and temper changes of summertime, autumn, wintertime and spring—for all the stacks to be reached past the threshing-machines. Grain storage/drying-stacks similar these became common throughout Europe in the 19th century and survived until the inception of combine harvesters. Although the shapes of stacks were regional, in Normandy, where Giverny is situated, information technology was common for them to be round with quite steeply-pitched thatched 'roofs'—but as Monet painted.

The stacks belonged to Monet's farmer-neighbour, Monsieur Quéruel. Noticing the manner the calorie-free changed on Grand. Quéruel'southward stacks, Monet asked his stepdaughter, Blanche Hoschedé, to bring him 2 canvases, one for sunny and one for clouded conditions.^[sixteen] But Monet soon found he could not take hold of the always-irresolute light and mood on simply two canvases: as a result, his willing helper was quickly bringing as many canvases equally her wheelbarrow could hold.^[17] Monet'southward daily routine therefore came to involve carting paints, easels and many unfinished canvases back and forth, working on whichever sail most closely resembled the scene of the moment as the conditions and light fluctuated. Although he began painting the stacks en plein air, Monet later revised his initial impressions in his studio, both to generate contrast and to preserve the harmony within the series.^[18]

Monet produced numerous Haystacks paintings. He painted five paintings (Wildenstein Index Numbers 1213–1217) with stacks as his primary field of study during the 1888 harvest.^[19] His before landscapes (Wildenstein Index Number 900–995, 1073) had included stacks [and also some more-accurately described hayricks: that is smaller piles of hay for animal-feed] in an ancillary way. The general consensus is that only the canvases produced using the 1890 harvest (Wildenstein Index Number 1266–1290) comprise the Haystacks series proper. However some commentators include additional paintings when referencing this series. For instance, the Loma-Stead Museum talk of their two stack paintings even though one is from the 'proper' 1890 harvest, the other from the 1888 harvest.^[seven]

Monet's Haystacks series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather condition. For Monet, the concept of producing and exhibiting a serial of paintings related by subject and vantage point began in 1889, with at least 10 paintings done at the Valley of the Creuse, and subsequently shown at the Galerie Georges Petit.^[twenty] This involvement in the serial motif would go on for the balance of his career.

Thematic issues [edit]

Although the mundane subject was constant throughout the Haystack series, the underlying theme may be seen every bit the transience of light. This concept enabled Monet to utilize repetition to prove nuances of perception as the time of 24-hour interval, the seasons and the weather changed. The almost unvarying subject provided the ground for him to compare changes of light and mood beyond his nuanced serial.^[21] The get-go paintings in the series were started in tardily September or early on October 1890, and he connected producing these paintings for virtually 7 months. These paintings made Monet the offset painter to paint such a large quantity of pictures of the aforementioned subject area matter differentiated by light, atmospheric condition, atmosphere and perspective.^[xviii]

First in the 1880s and 1890s, Monet focused on Haystacks and a number of other subjects (other series included the Mornings on the Seine, Poplars, Rouen Cathedral, the Houses of Parliament, and the Water Lilies, amidst others). In lodge to work on many paintings virtually simultaneously, he would awake before dawn then equally to brainstorm at the earliest fourth dimension of solar day:

... for the Early Mornings on the Seine series, he chose to pigment at and before dawn, which made it 'an easier subject and simpler lighting than usual', because at this time of day the effects did not change so rapidly; notwithstanding, this involved him getting up at 3:30 a.m., which seems to have been unprecedented fifty-fifty for so inveterate an early riser as Monet."^[22]

Every bit the forenoon progressed and the light changed he would switch to sequentially later canvas settings, sometimes working on as many as 10 or twelve paintings a day, each i depicting a slightly different attribute of light.^[23] The process would exist repeated over the course of days, weeks, or months, depending on the weather and the progress of the paintings until they were completed. As the seasons inverse the process was renewed.

Certain effects of light only last for a few minutes, thus the canvases documenting such ephemera received attention for no more than a few minutes a 24-hour interval.^[24] Further complicating matters, the calorie-free of subsequent sunrises, for example, could alter substantially and would require separate canvases within the series.^[25] Later on, different hues are evident in each painting, and in each piece of work, color is used to depict not only direct but reflected light. At differing times of day and in various seasons stacks absorb the light from diverse parts of the color spectrum. As a effect, the residual light that is reflected off of the stacks is seen as always-changing, and manifests in distinctive coloring.^[26]

Many notable painters accept been influenced by this particular series, including Les Fauves, Derain, and Vlaminck.^[27] Kandinsky's memoirs refer to the series: "What suddenly became clear to me was the unsuspected power of the palette, which I had not understood before and which surpassed my wildest dreams."^[28]

The Haystacks series was a financial success.^[29] Fifteen of these were exhibited by Durand-Ruel in May 1891, and most of the paintings were sold inside a month.^[29] They were specially popular amid collectors from America, with twenty out of the thirty Haystacks created landing in American collections.^[29] Of the American collectors, Bertha Honoré Palmer bought nine of Monet'south Haystacks.^[29] The 1891 exhibit met with keen public acclaim. Octave Mirbeau described Monet's daring serial equally representing "what lies beyond progress itself." Others described the stacks as "faces of the mural"—they represented the countryside as a retreat from daily problems and dwelling for delectation with nature. Camille Pissarro said: "These canvases breathe delectation."^[15] Most of the paintings sold immediately for every bit much as 1,000 francs.^[xxx] Additionally, Monet's prices, in general, began to rise steeply. As a result, he was able to buy outright the house and grounds at Giverny and to start constructing a waterlily pond. After years of mere subsistence living, he was able to enjoy success.

The series demonstrates his intense study of light and atmospheric weather and Monet was a perfectionist in his renderings. Monet destroyed more than one series of paintings that he found wanting.^[31] However, this series escaped his own harsh self-criticism and destruction.

1888–1889 paintings [edit]

From the 1888 harvest, Monet produced three canvases featuring two stacks each (Wildenstein #'s 1213–five) against the backdrop of hills along the left bank of the Seine and a few Giverny houses to the correct. Then, he turned to his left to capture 2 scenes (1216–seven) in which the hills are shrouded by a line of poplars.^[32]

• 

  Grainstacks at Giverny, sunset, 1888–89. Oil on canvas.

1890–1891 serial [edit]

On May 14, 2019, a privately held work from this serial (Grainstacks, 1890) exchanged hands at $110.7 million, setting a record for a Monet work and condign the start impressionist work to surpass $100 million.^[33] The buyer of the work was Hasso Plattner. Since September 2020, the painting is on display at the Museum Barberini in Potsdam.

• 

  Grainstacks in the Sunlight, Morning Event, 1890. Oil on sheet. Private drove. W1268.

• 

  Monet – Wildenstein 1996, 1272.

• 

  Monet – Wildenstein 1996, 1275.

• 

  Haystacks at sunset, frosty weather condition, private collection. W1282

• 

  Monet grainstack 65 x 92 cm, 1891 W1285

• 

  Grainstack in the Sunlight, 1891. Oil on canvas. Private collection. W1290

• 

  Haystack in the Evening Sun, 1891. Oil on canvas. Gösta Serlachius Fine Arts Foundation.

Notes [edit]

1. ^ "Claude Monet". The Art Establish of Chicago . Retrieved May 17, 2021.
2. ^ "Collection Search Results: Grainstack (Snow Effect)". Museum of Fine Arts, Boston. 2007. Archived from the original on December five, 2007. Retrieved July 3, 2007.
3. ^ "Drove Search Results: Grainstack (Sunset)". Museum of Fine Arts, Boston. 2007. Archived from the original on Oct 27, 2007. Retrieved July 3, 2007.
4. ^ "Land-by-Country Listing of Museums Belongings Originals (Monet)". artofmonet.com. Archived from the original on October 25, 2007. Retrieved October 9, 2007.
5. ^ Jill Shaw (2014). "Stacks of Wheat, 1890/91". In Groom, Gloria; Shaw, Jill (eds.). Monet Paintings and Drawings at the Fine art Institute of Chicago. Art Constitute of Chicago. Retrieved Feb 24, 2017.
6. ^ "Explore Fine art: Artists; Claude Monet; Wheatstacks, Snow Effect, Morning". The Getty Center, Los Angeles. 2010. Archived from the original on August 30, 2011. Retrieved January 26, 2010.
7. ^ ^{a b} "Highlights of the Collection (Paintings:Monet)". Hill-Stead Museum. Archived from the original on June 23, 2007. Retrieved July 17, 2007.
8. ^ "Drove Grand: Claude Monet". Retrieved July 3, 2007.
9. ^ "Collections > Explore the Drove (Grainstack, Sunday in the Mist)". The Minneapolis Plant of Arts. Archived from the original on September 27, 2007. Retrieved July 2, 2007.
10. ^ "Collections: Impressionist Paintings (Image 02)". Shelburne Museum. 2005. Archived from the original on August 22, 2007. Retrieved July 2, 2007.
11. ^ Tucker, p.87.
12. ^ Business firm, page 127.
13. ^ Tucker, p.33.
14. ^ "It is worth remembering that the stacks were literally at his doorstep, as photographs of the area make articulate Tucker, Paul Hayes (1989). Monet in the '90s: The Series Paintings. Museum of Fine Arts. p. 95. ISBN9780300049138.
15. ^ ^{a b} Lemonedes, p. 143.
16. ^ Kelder, p.183.
17. ^ The veracity of this story has been doubted: '"When I began I was like the others; I believed that two canvases would suffice, one for gray atmospheric condition and one for sun! At the time I was painting some stacks .... Ane twenty-four hours I saw that my low-cal had changed. I said to my stepdaughter: 'Get to the house, if you lot don't mind, and bring me another canvas!'" And so Monet worked on the story: another sail! Some other! The fact is that ever since he had started to pigment he had had the habit of working from the same motif nether different conditions .... And all the same there is something new here, a difference of emphasis.' Forge and Gordon, p. 158.
18. ^ ^{a b} Lemonedes, p. 139.
19. ^ Tucker, p.31.
20. ^ Tucker, p.41.
21. ^ So equally to return to a painting at the correct moment, "on occasion Monet took the precaution of writing the time of solar day on the dorsum of his canvases". House, p.143.
22. ^ House, p.143
23. ^ In a alphabetic character to Alice Monet dated March 29, 1893, Monet wrote of having worked on fourteen paintings in one day at Rouen. House, p.144.
24. ^ "In 1883 Jules Laforgue had spoken of a quarter hour as the natural fourth dimension span for an Impressionist painting, while Monet himself mentioned seven minutes as the limit for 1 of his Poplar series ... and in 1918 talked of effects which lasted 'sometimes three or four minutes at the most'". House, p.142.
25. ^ "The constantly varying weather, rather than whatsoever idea of a final pictorial ensemble, remained his initial reason for endlessly multiplying his canvases." House, page 204.
26. ^ "In Grain Stack at Sunset intense brick reds give the shadowed side of the stack an incandescent cadre, while the light of the sunset haloes the stack with vermilion and yellow, and scatters the lit parts of the field with particles of pink, orangish, and mauve." House, page 128.
27. ^ "Monet Haystacks". Impressionist Art Gallery. 2006. Archived from the original on Oct 9, 2007. Retrieved October one, 2007.
28. ^ Excerpts from Kandinsky's memoirs, page 53. CDlib.org Retrieved May 30, 2007.
29. ^ ^{a b c d} Brettell, Richard R. (1984). "Monet'due south Haystacks Reconsidered". Fine art Institute of Chicago Museum Studies. eleven (1): 5–21. doi:10.2307/4115885. ISSN 0069-3235.
30. ^ "... before the testify fifty-fifty opened, Durand-Ruel purchased eight of the fifteen Grainstacks that the artist would exhibit. In the meantime, Monet had been able to sell two others that he would include in the exhibition ... That meant that of the fifteen stacks that went on view in May 1891, ten were already spoken for, leaving only 5 for anyone who might take been interested." Tucker, p.98.
31. ^ "Many accounts speak of Monet destroying incomplete abortive paintings; with the London series and the H2o Lilies of 1903–1909 the destructions seem to have been very extensive. In 1907, when deferring his exhibition of Water Lilies, he told Durand-Ruel that he had destroyed 'at least thirty of them, to my cracking satisfaction'." Firm, page 159.
32. ^ Forge, Andrew, and Gordon, Robert, Monet, Harry North. Abrams, Inc., 1989, pp. 156–163.
33. ^ "Monet 'Meules' painting sells for record $110.vii million at sale". CNBC. Reuters. May 14, 2019. Retrieved May 17, 2019.
34. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Fine art Institute of Chicago . Retrieved May 17, 2021.
35. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Fine art Institute of Chicago . Retrieved May 17, 2021.
36. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Art Institute of Chicago . Retrieved May 17, 2021.
37. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Fine art Plant of Chicago . Retrieved May 17, 2021.
38. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Art Institute of Chicago . Retrieved May 17, 2021.
39. ^ Monet, Claude. "Stack of Wheat (Thaw, Sunset)". The Fine art Institute of Chicago . Retrieved May 17, 2021.

References [edit]

• Forge, Andrew, and Gordon, Robert, Monet, Harry N. Abrams, Inc., 1989.
• Gerdts, William H., Monet's Giverny: An Impressionist Colony, Abbeville Printing Publishers, 1993.
• Heinrich, Christoph, Claude Monet, Benedikt Taschen Verlag GmbH, 2000
• Business firm, John, Monet: Nature into Art, Yale University Press, 1986.
• Kelder, Diane, The Neat Volume of French Impressionism, Abbeville Press Publishers, 1980.
• Lemonedes, Heather, Lynn Federle Orr and David Steel, Monet in Normandy, Rizzoli International Publications, 2006, ISBN 0-8478-2842-5
• Sagner, Karin, Monet at Giverny, Prestel Verlag
• Stuckey, Charles F., Claude Monet 1840–1926, 1995, co-published by The Fine art Institute of Chicago and Thames and Hudson.
• Tucker, Paul Hayes, Monet in the '90s: The Series Paintings, 1989, Museum of Fine Arts, Boston in clan with Yale University Press
• Wildenstein, Daniel, Monet: or the Triumph of Impressionism, 2006, Taschen GmbH
• Published on the occasion of the Exhibition Monet's Years at Giverny: Across Impressionism Organized by the Metropolitan Museum of Art in clan with the St. Louis Art Museum, 1978, Abradale Press/Harry N. Abrams, Inc.

External links [edit]

• Experience two of Monet's Haystacks at Colina-Stead Museum, Farmington, Connecticut
• Monet's Years at Giverny: Beyond Impressionism, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains textile on these works
• Monet works at the Art Plant of Chicago, featuring Haystack paintings
• Examples of stacks and their thatching (in Britain) ^{[ permanent dead link ]}

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Source: https://en.wikipedia.org/wiki/Haystacks_(Monet_series)

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