Begun in 1896, Monet’s Mornings on the Seine series was not completed until 1897 because of inclement weather. Having patiently scouted out views along the river, Monet then painted the pictures from a boat that he had converted into a floating studio. For an extended period he rose by dawn in order to paint the changing effects of light as the sun came up. He then lined up the canvases on easels in his studio to complete them together as a series. Fifteen were shown at the Galerie Georges Petit in 1898.
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Title:Morning on the Seine near Giverny
Artist:Claude Monet (French, Paris 1840–1926 Giverny)
Medium:Oil on canvas
Dimensions:32 1/8 x 36 5/8 in. (81.6 x 93 cm)
Credit Line:Bequest of Julia W. Emmons, 1956
Inscription: Signed and dated (lower left): Claude Monet 97
[Bernheim-Jeune, Paris, until 1906; sold March 31, 1906 to Durand-Ruel]; [Durand-Ruel, Paris, 1906; stock no. 8133; sold October 30, 1906 to Durand-Ruel, New York]; [Durand-Ruel, New York, 1906–7; stock no. 3139; sold January 10, 1907 to Emmons]; Arthur B. Emmons, New York and Newport (1907–d. 1922); his widow, Julia W. Emmons, New York and Newport (1922–d. 1956)
Paris. Galerie Georges Petit. "Exposition Claude Monet," June 1898, nos. 40–57 (possibly one of the pictures listed under the heading "Série des matins sur la Seine").
New York. Wildenstein. "From Paris to the Sea Down the River Seine," January 28–February 27, 1943, no. 46 (lent by Mrs. Arthur B. Emmons).
New York. Museum of Modern Art. "Claude Monet: Seasons and Moments," March 9–May 15, 1960, no. 73.
Los Angeles County Museum. "Claude Monet: Seasons and Moments," June 14–August 7, 1960, no. 73.
Pittsburgh. Carnegie Institute. "The Artist and the Tree," September 18–November 17, 1963, no catalogue.
New York. Richard L. Feigen & Co. "Claude Monet," October 15–November 15, 1969, no. 50.
New York. The Metropolitan Museum of Art. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue.
New York. The Metropolitan Museum of Art. "Monet's Years at Giverny: Beyond Impressionism," April 19–July 9, 1978, no. 28.
Saint Louis Art Museum. "Monet's Years at Giverny: Beyond Impressionism," August 1–October 8, 1978, no. 28.
Toronto. Art Gallery of Ontario. "Turner, Whistler, Monet: Impressionist Visions," June 12–September 12, 2004, no. 61.
Paris. Galeries nationales du Grand Palais. "Turner, Whistler, Monet: Impressionist Visions," October 12, 2004–January 17, 2005, no. 61.
Clement Greenberg. Art News Annual 26 (November 1956), ill. p. 142.
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, p. 141, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 299–300, 302, 304–5, fig. 27.
Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, p. 19.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures. Paris, 1979, pp. 79, 84 n. 1440, pp. 212–13, no. 1482, ill.
Grace Seiberling. Monet's Series. PhD diss., Yale University. New York, 1981, pp. 189, 225, mentions it in the context of the series of "Mornings on the Seine".
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 146–47, 252–53, ill. (color).
John House. Monet: Nature into Art. New Haven, 1986, pp. 129, 171, 173, 182, 200, 204, colorpl. 211, dates it 1896–97.
Gottfried Boehm inClaude Monet: Nymphéas. Ed. Christian Geelhaar. Exh. cat., Kunstmuseum Basel. Basel, 1986, pp. 120–21, ill.
Gottfried Boehm. Paul Cézanne: Montagne Sainte-Victoire. Frankfurt, 1988, pp. 46, 48, fig. 10.
Daniel Wildenstein. Claude Monet: Catalogue raisonné. Vol. 5, Supplément aux peintures; dessins, pastels, index. Lausanne, 1991, p. 51, no. 1482.
Karin Sagner-Düchting. Monet at Giverny. Munich, 1994, pp. 46, 116, ill. p. 44 (color).
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 478, ill.
Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné–Werkverzeichnis: Nos. 969–1595. 2nd ed. Cologne, 1996, p. 620, no. 1482, ill. (color).
Horst Keller. Monets Jahre in Giverny, Ein Garten wird Malerei. Cologne, 2001, p. 72, ill. p. 74 (color).
Katharine Lochnan. "Turner, Whistler, Monet: An artistic dialogue." Turner, Whistler, Monet: Impressionist Visions. Ed. Katharine Lochnan. Exh. cat., Art Gallery of Ontario. Toronto, 2004, p. 33.
John House. "Tinted steam: Turner and Impressionism." Turner, Whistler, Monet: Impressionist Visions. Ed. Katharine Lochnan. Exh. cat., Art Gallery of Ontario. Toronto, 2004, p. 47.
Luce Abélès. "Mallarmé, Whistler and Monet." Turner, Whistler, Monet: Impressionist Visions. Ed. Katharine Lochnan. Exh. cat., Art Gallery of Ontario. Toronto, 2004, pp. 167, 174, no. 61, ill. p. 176 (color).
Joseph Baillio and Cora Michael inClaude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 169.
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. 45–47, fig. 7 (color), discusses it in the context of a larger exploration of the "Mornings on the Seine" series.
Anne-Birgitte Fonsmark inMonet: Beyond Impressionism. Exh. cat., Ordrupgaard. Copenhagen, 2016, pp. 195, 211, ill. (color).
Michael Clarke inDaubigny, Monet, Van Gogh: Impressions of Landscape. Exh. cat., Taft Museum of Art, Cincinnati. Edinburgh, 2016, p. 78, fig. 71 (color), discusses the series as inspired by Corot's late pictures of trees.
Christoph Heinrich inImpressionism: The Art of Landscape. Ed. Ortrud Westheider and Michael Philipp. Exh. cat., Museum Barberini, Potsdam. Munich, 2017, pp. 84, 87 n. 31, includes this picture among examples from this series that display the first time Monet used the square format [despite this canvas's greater width than most of the others].
George T. M. Shackelford. Monet: The Late Years. Exh. cat., Fine Arts Museums of San Francisco. Fort Worth, 2019, pp. 110, 124, fig. 154 (color), notes that the artist worked on the picture through many sessions and finished it in the studio.
In the summers of 1896 and 1897, Monet worked on a series of views very similar to this, eighteen of which he exhibited in 1898.
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