Field of Poppies, Giverny (Primary Title)

Claude Monet, French, 1840 - 1926 (Artist)

oil on canvas
Unframed: 23 5/8 × 28 3/4 in. (60.01 × 73.03 cm)
Framed: 34 1/2 × 39 1/2 in. (87.63 × 100.33 cm)
Not on view
This is one of four paintings of poppy fields that Monet completed during the summer of 1885 in Giverny, where the artists resided from 1883 until his death almost forty-five years later. The painting illustrated a change in Monet’s technique, which occurred in the 1880s: he consciously treats the landscape as a vehicle for opposing bands of colors – red, green, and blue. He may have added to the painting in the studio in order to unify the surface. The painting received widespread recognition at its United States premiere in 1886 and was one of Monet’s first works purchased by and American collector.
signed and dated, lower left: "Claude Monet 85"
Collection of Mr. and Mrs. Paul Mellon
2019-2020: "Van Gogh Monet Degas, The Mellon Collection of French Art from the Virginia Museum of Fine Arts", Palazzo Zabarella, Padua, Italy, October 26, 2019 - March 1, 2020

2019: Van Gogh, Monet, Degas, and Their Times: The Mellon Collection of French Art from the Virginia Museum of Fine Arts, Frist Art Museum, Nashville, TN, February 2 - May 5, 2019

2018: "Country Life: Masterpieces from the Mellon Collection of MVFA", Musée de la Chasse et de la Nature, Paris, France, September 4 - December 2, 2018

2018-2019: "Van Gogh, Monet, Degas: The Mellon Collection of French Art from the Virginia Museum of Fine Arts", The Frick Pittsburgh, Pittsburgh, PA, March 17 - July 15, 2018; Oklahoma Museum of Art, Oklahoma City, Oklahoma, June 22 - September 22, 2019
Westheider, Ortrud, Michael Philipp, and Susan Behrends Frank. From Hopper to Rothko: America's Road to Modern Art. Munich: Prestel, 2017. (fig 5, p. 50)

Stephen Eisenman, From Corot to Monet The Ecology of Impressionism ex. cat. (Rome: Communicare Organizzando S.r.l., 2010) pp. 28, 336, cat. 162, b&w ill. p. 29, color ill. p. 337.

Charles Stuckey & James Yood, In Monet’s Garden ex. cat. (Columbus, OH: Columbus Museum of Art, 2007) p. 54, color ill. fig. 14, p. 54.

Richard Brettell et al, Monet in Normandy (New York: Rizolli International, in asso. with Fine Arts Museum of San Francisco, North Carolina Museum of Art, and Cleveland Museum of Art, 2006) p. 36, color ill. fig. 26.

Verizon Yellow Pages, January 2005, color ill. n.p.

Sona Johnston, In Monet's Light Theodore Robinson in Giverny (Baltimore: Baltimore Museum of Art in asso. with Philip Wilson Publishers, 2004) p. 56, color ill. fig. 9, p. 57, p. 14 (det.).

Valerie Ann Leeds, Ray Ellis Paints Flowers (Savannah, GA: Compass Prints Inc., 2005) pp. 16-17, b&w ill. fig. 7 p. 16.

Katherine Calos, "Monet and more: An inspired idea for a master's show," Richmond Times-Dispatch Sunday, 10/15/2006, pp. J-1&4, color ill. p. J-1.

Michael Leja, Looking Askance: Skepticism and American Art from Eakins to Duchamp (Berkeley: University of California Press, 2004) p. 102, color ill. p. 10.

Michael Leja, “Monet’s Modernity in New York in 1886,” The Smithsonian American Art Museum’s American Art magazine, Vol. 14, No. 1. Spring 2000, pp. 57, 59, color ill. no. 9, p. 63.

Daniel Wildenstein, Claude Monet Catalogue Raisonné Vol. III (Köln: Benekidt Taschen Verlag, in association with Wildenstein Institute, 1996) p. 374, cat. no. 997, color ill.

William H. Gerdts, Monet's Giverny An Impressionist Colony (New York: Abbeville Press, 1993) pp. 66, 68, ill. no. 57.

William H. Gerdts, American Impressionism (tiny folio format) (New York: Abbeville Press, 1994) ill. p. 51.

Jonathan Stephenson, Paint with the Impressionists (London: Thames & Hudson, Ltd., 1995) pp. 8-9, color ill. p. 9.
Image released via Creative Commons CC-BY-NC

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