The Île aux Orties (Island of Nettles) is situated not far from Monet’s home at Giverny, near the confluence of the Epte and Seine. Monet owned the property, which is now joined to the riverbank, and used it to moor his boats. He painted four versions of this composition, all signed and dated 1897. The setting and the misty, luminous atmosphere are similar to that of Morning on the Seine near Giverny (56.135.4), one of a series of views which Monet completed that year along the same stretch of water.
Inscription: Signed and dated (lower left): Claude Monet 97
?[Petit, Bernheim, and Montaignac, Paris, from 1898; bought from the artist]; Frederic Bonner, New York (until d. 1911; sale, American Art Association, New York, January 24, 1912, no. 37, as "Near Vernon" for $2,000 to Durand-Ruel); [Durand-Ruel, New York, 1912–16]; Mrs. Charles H. Senff, New York (1916–d. 1928); her nephew and his wife, Mr. and Mrs. Charles S. McVeigh, New York (1928–60; life interest, MMA received 2/3 interest in 1960 and the remaining 1/3 interest in 1961, accepted by the Director on December 21, 1961)
Paris. Galerie Georges Petit. "Exposition Claude Monet," June 1898, no. ? [see Wildenstein 1979].
Boston. Brooks Reed Gallery. October 1914, no catalogue? [see Wildenstein 1996].
St. Louis. Noonan-Kocian Gallery. November 1914, no catalogue?
Madrid. Museo Español de Arte Contemporáneo. "Claude Monet (1840–1926)," April 29–June 30, 1986, no. 89.
Naples. Museo di Capodimonte. "Capolavori Impressionisti dei Musei Americani," December 3, 1986–February 1, 1987, no. 32.
Milan. Pinacoteca di Brera. "Capolavori Impressionisti dei Musei Americani," March 4–May 10, 1987, no. 32.
Munich. Kunsthalle der Hypo-Kulturstiftung. "Monet and Modernism," November 23, 2001–March 10, 2002, unnumbered cat. (ill. pp. 54–55 [color]).
Basel. Fondation Beyeler. "Monet and Modernism," April 1–August 18, 2002, unnumbered cat. (ill. pp. 54–55 [color]).
Little Rock. Arkansas Arts Center. "Art and the White House: Presidential Selections 1960–2000," November 19, 2004–January 23, 2005, unnum. brochure (fig. 3).
Tulsa. Philbrook Museum of Art. "Monet and the Seine: Impressions of a River," June 29–Sept. 21, 2014, no. 48.
Museum of Fine Arts, Houston. "Monet and the Seine: Impressions of a River," October 26, 2014–February 1, 2015, no. 48.
Basel. Fondation Beyeler. "Monet," January 22–May 28, 2017, no. 117.
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. 140–41, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), p. 305, fig. 35.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures. Paris, 1979, p. 84 n. 1440, pp. 216–17, no. 1491, ill.
Claire Joyes. Claude Monet: Life at Giverny. New York, 1985, ill. p. 70 (color).
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 74–75, no. 32, ill. (color).
Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné–Werkverzeichnis: Nos. 969–1595. 2nd ed. Cologne, 1996, p. 626, no. 1491, ill. (color).
Karin Sagner-Düchting inMonet and Modernism. Ed. Karin Sagner-Düchting. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2001, pp. 52–55, ill. (color).
Ellen A. Plummer. Art and the White House: Presidential Selections, 1960–2000. Exh. brochure, Arkansas Arts Center. Little Rock, 2004, unpaginated, fig. 3 (color), states that it was selected by the Nixons to hang in the White House and retained during the Ford and Carter administrations.
Tanya Paul in Helga Kessler Aurisch and Tanya Paul. Monet and the Seine: Impressions of a River. Exh. cat., Philbrook Museum of Art. Houston, 2014, pp. 45, 148–50, no. 48, ill. (color), notes that Monet had to turn his canvas and probably his boat around from their positions for the earlier "Mornings on the Seine" series and discusses this picture and four others as appendages to that group; discusses the similarity of the symmetry of the upper and lower halves of the picture to that of the earlier "Mornings on the Seine" paintings and its similar move toward abstraction; remarks that the artist only turned toward the subject of the Ile aux Orties (Isle of Nettles) in 1897, despite his having built a boathouse there and his frequent return to the spot from 1883 on; observes that the view has been shifted slightly from his "The Seine at Giverny (L'lle aux Orties, Giverny)" (Columbia Museum of Art, Columbia, S.C.).
The Île aux Orties was an island in the Epte river that was owned by Monet, who moored his boats there. It is now attached to the riverbank where the Epte joins the Seine near Giverny. This is one of four paintings Monet completed of the subject (W1489–1492), all dated 1897.