Situated on the boulevard de Courcelles in Paris and surrounded by fashionable town houses, the Parc Monceau was planned in the late eighteenth century in the form of an English garden. Monet painted three views of the park in the spring of 1876. This one, shown at the 1877 Impressionist exhibition, focuses on the swaths of green grass and blooming trees. The building visible at left in this painting also appears in two works from 1878, including one in the Museum’s collection (59.142).
Inscription: Signed and dated (lower right): Claude Monet 76
Georges de Bellio, Paris (1876–at least 1890; bought from the artist June 25, 1876); his nephew, Alexandre Bellio, Bucharest (?about 1890–about 1930; sold by his heirs through Schoeller); [André Schoeller, Paris, from about 1930]; Madame Dufour, Paris (until 1953; sold to Wildenstein); [Wildenstein, New York, 1953–54; sold in January 1954 to Lasker]; Loula D. Lasker, New York (1954–d. 1961)
Paris. 6, rue le Peletier. "3e exposition de peinture [3rd Impressionist exhibition]," April 1877, no. 96 (as "Paysage: le parc Monceaux [sic]," lent by M. de Bellio).
New York. Waldorf-Astoria Hotel. "Festival of Art," October 29–November 1, 1957, no. 124 (lent by Miss Loula D. Lasker).
Indianapolis Museum of Art. "Treasures from the Metropolitan," October 25, 1970–January 3, 1971, no. 68.
Jacksonville, Fla. Arts Assembly of Jacksonville. "Jacksonville Arts Festival," March 30–April 5, 1976, no catalogue?
Washington. National Gallery of Art. "The New Painting: Impressionism 1874–1886," January 17–April 6, 1986, no. 50 (as "Paysage: Le parc Monceaux [sic]," 1876).
San Francisco. M. H. de Young Memorial Museum. "The New Painting: Impressionism 1874–1886," April 19–July 6, 1986, no. 50.
Amsterdam. Rijksmuseum Vincent van Gogh. "Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten," March 15–May 31, 1987, no. 21.
Hiroshima Prefectural Art Museum. "Claude Monet: A Hymn to Light," August 3–September 23, 2004, no. 14.
Nara Prefectural Museum of Art. "Claude Monet: A Hymn to Light," October 2–December 5, 2004, no. 14.
Paul Mantz. "L'Exposition des peintres impressionnistes." Le Temps (April 22, 1877), p. 3.
A. P[othey]. "Beaux-Arts." Le Petit parisien (April 7, 1877), p. 2.
Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, p. 92, lists a Parc Monceau among thirty works by Monet included in the third Impressionist exhibition of 1877, probably this picture.
Camille Mauclair. Claude Monet. London, , p. 15 [French ed., Paris, 1924, p. 12].
Georges Rivière. "Claude Monet aux Expositions des Impressionnistes." L'art vivant 3 (January 1, 1927), p. 18, mentions a Parc Monceau included in the 1877 Impressionist exhibition, possibly this picture.
Maurice Malingue. Claude Monet. Monaco, 1943, p. 19.
Oscar Reuterswärd. Monet. Stockholm, 1948, p. 109.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes." Revue Roumaine d'Histoire de l'Art 1, no. 2 (1964), pp. 213, 215, 220, 222, 241, 258, 264, 278, nos. II75 and IV6, ill. p. 267 (photograph of about 1890 showing it hanging on a wall in de Bellio's Paris apartment) [see also Ref. Niculescu 1970].
Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, pp. 97–98, no. 136, ill.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 128–29, ill.
Daniel Wildenstein. Monet, Impressions. Lausanne, 1967, ill. p. 25 (color).
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 288, 290, 303, 305, fig. 8, claims it is known that de Bellio acquired it at the third Impressionist exhibition in 1877.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes (I)." Paragone 21 (September 1970), pp. 31, 33, 40, 53, pl. 29, claims that de Bellio owned three versions of this subject (including MMA 59.142; W466); states that it is difficult to determine which of the versions of this subject de Bellio is referring to in his letter to Monet of 1884.
Remus Niculescu. "Georges de Bellio, l'ami des impressionnistes (II)." Paragone 21 (November 1970), pp. 53, 64–65, 84, nos. II75a and IV6, pl. 35 (photograph of about 1890 showing it hanging on a wall in de Bellio's Paris apartment), publishes a letter of 1884 from de Bellio to Monet including this picture in a list of works that will remain in the collector's possession; identifies it as the one de Bellio lent to the 1877 Impressionist exhibition; suggests that it is one of the views of Paris mentioned by Monet in a letter to de Bellio of June 7, 1876.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840–1881: Peintures. Lausanne, 1974, pp. 82, 84, 286–87, no. 398, ill., tentatively identifies it with a work of this title mentioned by de Bellio in a letter to Monet which he dates September 12, 1891 [but see Refs. Niculescu 1964 and 1970, where this letter is dated about 1884], listing it among pictures which will always remain in his collection; also tentatively identifies it with the work of this subject lent by de Bellio to the third Impressionist exhibition in 1877.
Tetsuro Miura and Chuji Ikegami. Mone [Monet]. Tokyo, 1977, unpaginated, fig. 25 (color).
Rodolphe Walter. "Le parc de Monsieur Zola." L'Oeil no. 272 (March 1978), p. 20, ill. (color).
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures. Paris, 1979, p. 43 n. 1055.
Paul Hayes Tucker. Monet at Argenteuil. New Haven, 1982, pp. 163, 174, 200 n. 7, fig. 142.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 118–19, 252, ill. (color).
Richard R. Brettell inThe New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 194, 205, 221, no. 50, ill. (color).
Sjraar van Heutgen et al. inFranse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 68–69, no. 21, ill. (color, overall and detail).
Richard Kendall, ed. Monet by Himself. London, 1989, ill. p. 71 (color).
Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 111, 115, considers it probably the same "Parc Monceau" picture that appeared in the 1877 Impressionist exhibition; states that de Bellio bought it from Monet in June 1876.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, pp. 118, 121.
Paul Hayes Tucker. Claude Monet: Life and Art. New Haven, 1995, p. 91, colorpl. 101.
Albert Boime. Art and the French Commune: Imagining Paris after War and Revolution. Princeton, 1995, p. 96, fig. 67.
Daniel Wildenstein. Monet. Vol. 2, Catalogue raisonné–Werkverzeichnis: Nos. 1–968. 2nd ed. Cologne, 1996, p. 163, no. 398, ill. p. 162 (color).
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 1, pp. 119, 168, vol. 2, p. 76.
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, p. 123.
Impressionist & Modern Art: Part One. Sotheby's, London. June 26, 2001, p. 27, fig. 3 (color).
Catherine Hug Monika Leonhardt inMonet's Garden. Exh. cat., Kunsthaus Zürich. Ostfildern-Ruit, Germany, 2004, p. 155 n. 38.
Clare A. P. Willsdon. In the Gardens of Impressionism. New York, 2004, pp. 118, 263 n. 76.
Eric M. Zafran inClaude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 136.
Michael Marrinan. Gustave Caillebotte: Painting the Paris of Naturalism, 1872–1887. Los Angeles, 2016, p. 158, fig. 72 (color), compares it to Caillebotte's "The Parc Monceau" (1877, private collection).
Monet painted the Parc Monceau in Paris three times in 1876: this work (W398), the only one of the three actually dated, and two others (W399, W400) in private collections in Japan. Two years later, Monet again painted three views of the park (W466-468). The MMA also owns one of these later works (59.142; W466).