After Claude Monet, Haystacks, 1918, Lithograph

Details

Description

A lithograph after claude monet from "die skizzenmappe - zeichnungen französischer meister des neunzehnten jahrhunderts" portfolio with text by julius … Read more A lithograph after claude monet from "die skizzenmappe - zeichnungen französischer meister des neunzehnten jahrhunderts" portfolio with text by julius elias, published by marees-gesellschaft in munich in 1911-1918, one year before the van gogh portfolio, in an edition of 100 only. The portfolio consisted of 70 lithographic reproductions of drawings and watercolors by edouard manet, berthe morisot, claude monet, camille pissarro, alfred sisley, armand guillaumin, edgar degas, henri de toulouse-lautrec, george seurat, paul signac, auguste renoir, paul cézanne, pierre bonnard, edouard vuillard, vincent van gogh, paul gauguin and auguste rodin.
as stated in the colophon, it took the publisher 7 years to complete the series.
the artwork is accompanied by a copy of the colophon.

claude monet (1840-1926), after
"die mieten" (haystacks)
colour lithograph
year (conceived): 1890-1891
year (printed): 1918
edition: 57/100
size (overall): 480 x 322 mm
size of the image: 157 x 241 mm
in the original passepartout, blind-numbered 16

signed in the plate "claude monet", bottom left
blind seal of the publisher, bottom right corner

numbered 57 on the colophon, from an overall edition of 100

printer: andré marty
publisher: marées-gesellschaft, r. Piper & co., münchen, 1918

excellent condition (few signs of age in the passepartout)

sold with certificate
___

literature and references:

between the end of the summer of 1890 and the spring of 1891, monet painted 25 views of haystacks. What monet was pursuing in the haystack series was how to capture the "entourage" of the motif, i.e. The effect of the light diffused around the motif. In this drawing, the entourage of the haystacks projecting dark shadows against the light is contoured in dots. Similar dotted lines are also visible around the trees in the mid-ground. This study shows the artist's acute interest in the effect of the light incessantly flowing around the motif. (source: the digital gallery. 1999-2006)

exhibition history of the drawing:

. Œuvre de cl. Monet: 1894-1905, bernheim-jeune, paris, 1906
. Salon jubilaire, la libre esthétique, bruxelles, 1 march 1908 - 5 april 1908, no. 139
. Salon du dessin, liège, belgique, 0 november 1909 - 0 december 1909
. Expressiveness of materials, national museum of art, osaka, 17 april 1997 - 22 june 1997, cat. No. 29
. French masterpiece drawings from the national museum of western art collection, national museum of western art, tokyo, 27 march 2001 - 24 june 2001
. The unknown monet: pastels and drawings, royal academy of arts, london, 17 march 2007 - 10 june 2007, cat. No. 203, col. Repr.
. Monet, an eye for landscapes: innovation in 19th century french landscape paintings, pola museum of art, 13 july 2013 - 24 november 2013, the national museum of western art, tokyo, 7 december 2013-9 march 2014, cat. No. 31, col. Repr.

bibliography (where the artwork is reproduced):

. Mirbeau, o. Claude monet. L'art dans les deux mondes. No. 16, 7 mars 1891, p. 183.
. Duret, th. L'histoire des peintres impressionnistes. Paris, 1906, p. 15.
. Elder, marc. A giverny chez claude monet. Paris, 1924, pl. 32.
. Werth, léon. Claude monet. Paris, 1928, pl. 65.
. Yashiro, yukio. Seiyo kindai kaiga ni tsuite. Bijyutsu kenkyu. No. 9, september 1932, pp. 1-25.
. Huyghe, r. Le dessin français au xixe siècle. Lausanne, 1948, p. 107.
. Reuterswärd, oscar. Monet. Stockholm, 1948, p. 195, fig. 91.
. Mathey, f. Les impressionnistes et leur temps. Paris, 1959, p. 94.
. Cogniat, r. Le siècle des impressionnistes. Paris, 1959 , p. 76.
. Seitz, william chapin. Claude monet. New york, 1960, pp. 35, 49, fig. 64.
. Taillandier, yvon. Monet. Paris, n.d. [1963], p. 91.
. Annual bulletin of the national museum of western art. No. 2 (1967), 1968, nakayama, kimio, preface; kuroe, mitsuhiko, catalogue. Claude monet dans les collections japonais. P. 14, cat. No. 21. Catalogue of the new acquisitions. Pp. 98-99, no. P-358. Repr.
. Cogniat, raymond. Claude monet. Paris, 1969, p. 36.
. Sapego, igor'gavrilovich. Claude monet. Leningrad, 1969, pl. 12.
. Kuroe, mitsuhiko. Claude monet. Tokyo, shuei-sha, 1970 (l'art moderne du monde, vol.2), ref. Pl. No. 13. (in japanese)
. Blunden, m.; blunden, g\. Le journal de l'impressionnisme. Paris, 1970, p. 121.
. Lindemann, g\. Prints-drawings, a pictoral history. London, 1970, pp. 306-312, 306.
. Les cent chefs-d'oeuvre du musée national d'art occidental. Tokyo, the national museum of western art, 1971 (japanese), no. 51.
. Les cent chefs-d'oeuvre du musée national d'art occidental. Tokyo, the national museum of western art, 1975 (japanese), no. 35.
. Leymaire, j\. Dessins impressionnistes de manet à renoir. Genève, 1985, p. 22.
. Wildenstein, daniel. Claude monet: biographie et catalogue raisonné, t. 5, lausanne/paris, la bibliothèque des arts, c1991, p. 129, cat. No. D444.
. Mutobe, akinori. Yuhi no　tsumiwara: hikari no utsuroi ni miserareta rensaku. The canvas seeks the light: 19 century, 3, kodansha, 1992 (meiga he no tabi, vol. 19), p. 106, no. 5-24. (in japanese)
. Mutobe, akinori. Light in monet's series paintings of the 1890s: a study of the composition and motifs. Bijutsushi: journal of the japan art history society, no. 133, 1993, pp. 30-44. (in japanese)
. La muse henshu-bu. Monet: yureru hikari. Kodansha-bunko, 1995., p. 105. (in japanese)
. Expressiveness of materials (exh.cat.). The national museum of art, osaka, 17 april-22 june 1997. The national museum of western art; the national museum art, osaka, cat. No. 4', list. No. 29.
. The unknown monet: pastels and drawings(exh.cat.). Ganz, james a.; kendall, richard. Williamstown; massachusetts; new haven; london, sterling and francine clark art institute; yale university press, 2007, cat. No. 203, col. Repr.
. Monet, an eye for landscapes: innovation in 19th century french landscape paintings(exh. Cat.). Tokyo, tbs, c2013, cat. No. 30, col. Repr. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less