Monet painted several series throughout his career, revisiting the same subject at different times of year and day to study to the impact of light and atmosphere on his subject. Most famous of these serial works are his water lilies, though he serialized grainstacks and the façade of Rouen cathedral, among other subjects.
When first exhibited in 1891 at Durand-Ruel’s gallery in Paris, Monet insisted all the Grainstacks be displayed together.
In conversation with W.G.C. Byvanck (1848-1925), a visitor to his Durand-Ruel exhibition, Monet stated “…there are some [Grainstacks] that really aren’t bad, but they only acquire their full value by comparison and in the succession of the full series.”
Grainstacks in Bright Sunlight (1890) by Claude MonetHill-Stead Museum
Organized chronologically, these seven Grainstacks depicting a variety of atmospheric conditions, viewed together, provide viewers the opportunity to consider them as a group, as Monet intended.
Haystack in Giverny (1889) by Claude MonetTel Aviv Museum of Art
Haystacks in Giverney
This treatment of the famed grainstacks subject from 1889 features a cool palette, evoking an autumn or winter setting. Monet’s use of impasto is visible, with his heavy application of paint and blending of colors highlighting the objects’ dimensionality.
Grainstacks, White Frost Effect (1889) by Claude MonetHill-Stead Museum
Grainstacks, White Frost Effect
The next iteration chronologically is this one, also from 1889. Experts have determined this canvas was worked on in the morning in early autumn based on the shadows.
Grainstacks (1890) by Claude MonetMuseum Barberini
Grainstacks
This 1890 piece is unique in the collection given its diagonal orientation in relation to its subject, with a strong orthogonal running from the large stack in the left foreground. The bright hues and highly saturated tone of pink also distinguish it from others in the study.
Grainstacks in Bright Sunlight (1890) by Claude MonetHill-Stead Museum
Grainstacks in Bright Sunlight
This composition features a yellow outline on the grainstacks, unique to this canvas compared to others in the series. The divergent shadows could not have been cast simultaneously by the same source of light – indicating that Monet worked on this scene over time.
Grainstack in the Sunlight, Snow Effect (1891) by Claude MonetMuseum Barberini
Grainstack in the Sunlight, Snow Effect
This composition preserves Monet’s impression of a winter day in the field near his home in Giverny.
Haystacks: Snow Effect (1891) by Claude MonetNational Galleries Scotland: National
Haystacks: Snow Effect
While holding a similar name to the previous painting, the two are drastically different in composition. Monet’s use of the word “effect” in multiple titles is an attempt to convey the specific conditions which result in the impression of the subject Monet attempted to preserve.
Wheatstacks, Snow Effect, Morning (1891) by Claude MonetThe J. Paul Getty Museum
Wheatstacks, Snow Effect, Morning
Here, Monet combines multiple elements previously identified as fundamental to the composition. The entirety of the series represents more than his affinity for the rural landscape, they speak to “time and change, innocence and ageing, tradition and modernity.” (Paul H. Tucker)
