This painting of Suzanne Hoschedé in the meadows just south of Le Pressoir, Monet's home at Giverny, was probably made in the summer of 1887. She became Monet's preferred model in the period after the death of his first wife, Camille, in 1879, and before 1890, when he gave up plein-air figure painting. The model was the daughter of Alice Hoschedé, whom Monet married in 1892.
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Title:The Stroller (Suzanne Hoschedé, later Mrs. Theodore Earl Butler, 1868–1899)
Artist:Claude Monet (French, Paris 1840–1926 Giverny)
Medium:Oil on canvas
Dimensions:39 5/8 x 27 3/4 in. (100.6 x 70.5 cm)
Credit Line:The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002
Inscription: Signed (lower left): Claude Monet
the sitter, Giverny (1887–d. 1899; returned by her widower, Theodore Earl Butler, to the artist); Claude Monet, Giverny (1899–d. 1926); his step-daughter, also the late sitter's sister, Blanche Hoschedé-Monet, Giverny (1926–d. 1947); her nephew, Jean-Marie Toulgouat (1947–54; sold on May 7, 1954, through Sam Salz, New York, to Annenberg); Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1954–his d. 2002)
Paris. Galerie Georges Petit. "Claude Monet, A. Rodin," June 21–August ?, 1889, no. 145 (as "La Promeneuse").
Paris. Galerie André Weil. "Centenaire de Claude Monet," January 30–February 21, 1940, no. 19? [see Wildenstein 1996].
Paris. Bernheim-Jeune. "Exposition de la femme, 1800–1930," April–June 1948, no. 63 (as "Portrait de Mme Butler, belle-fille de l'artiste").
Philadelphia Museum of Art. "Summer Loan Collections," July 4–September 2, 1963, no catalogue.
London. Tate Gallery. "The Annenberg Collection," September 2–October 8, 1969, no. 22 (as "Suzanne Hoschedé à Giverny").
Philadelphia Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 21–September 17, 1989, unnumbered cat. (as "Suzanne Hoschede à Giverny").
Washington. National Gallery of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 6–August 5, 1990, unnumbered cat.
Los Angeles County Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," August 16–November 11, 1990, unnumbered cat.
New York. The Metropolitan Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," June 4–October 13, 1991, unnumbered cat.
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
M. Roy Fisher. The Annenberg Collection. Exh. cat., Tate Gallery. London, 1969, unpaginated, no. 22, ill. (color), dates it 1885, the year that Monet returned to figure painting after six years devoted primarily to landscapes
Roger Terry Dunn. "The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889." PhD diss., Northwestern University, Evanston, Ill., 1978, pp. 80, 250.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures. Paris, 1979, pp. 4, 90–91, no. 1133, ill., dates it 1887 and notes that it depicts the same setting as "Suzanne Reading and Blanche Painting" of the same year (Los Angeles County Museum of Art; W1131).
John House. Monet: Nature into Art. New Haven, 1986, pp. 36, 236 n. 93, identifies it as probably no. 145 in Monet's 1889 retrospective [Exh. Paris 1889], grouped with three other paintings; suggests that Monet "did not consider [the figure paintings of this period] to be fully resolved; indeed they seem to have caused him particular difficulties".
Pierre Gassier et al. Claude Monet— Auguste Rodin: Centenaire de l'exposition de 1889. Exh. cat., Musée Rodin. Paris, 1989, pp. 57, 99, ill., identifies it as no. 145 in Exh. Paris 1889.
Colin B. Bailey inMasterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 56–57, 166, ill. (color and black and white), dates it to the summer of 1887 and identifies the setting as the meadows south of Le Pressoir, Monet's home in Giverny; notes its similarity to "Suzanne Reading and Blanche Painting" (private collection, France; W1132) and "Suzanne Reading and Blanche Painting in the Woods at Giverny (Los Angeles County Museum of Art; W1131), also painted at the same site; remarks that Suzanne was Monet's favorite model after the death of his first wife, Camille; states that Monet's separate rubric for the four undated paintings as "Essais" in Exh. Paris 1889 indicates his "hesitation to present them as fully realized works"; discusses Sargent's influence on these paintings and suggests that his "Claude Monet Painting at the Edge of a Wood" (Tate, London) depicts the same location; mentions it as a possible influence on van Gogh's "Girl in White" of 1890 (National Gallery of Art, Washington).
Daniel Wildenstein. Claude Monet: Catalogue raisonné. Vol. 5, Supplément aux peintures; dessins, pastels, index. Lausanne, 1991, p. 45, no. 1133.
Virginia Spate. Claude Monet: Life and Work. New York, 1992, pp. 191, 199.
Steven Z. Levine. Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. Chicago, 1994, pp. 124, 130.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 476, ill.
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, ill. p. 233 (color).
Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné–Werkverzeichnis: Nos. 969–1595. 2nd ed. Cologne, 1996, pp. 429–30, no. 1133, ill. (color).
Eric M. Zafran inClaude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 130.
Colin B. Bailey inMasterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 79–83, no. 16, ill. (color).
The same site is depicted in Suzanne Reading and Blanche Painting (private collection, France; W1132) and Suzanne Reading and Blanche Painting in the Woods at Giverny (Los Angeles County Museum of Art; W1131).
This work may not be lent, by terms of its acquisition by The Metropolitan Museum of Art.
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