Press packet / March 2014 American Impressionism

A New Vision

From March 28 to June 29, 2014

www.mdig.fr Press packet / March 2014 American Impressionism: A New Vision Press packet / March 2014 American Impressionism: A New Vision

edito

The 2014 season will be the chance for the musée des impressionnismes Giverny to celebrate its fih year of existence. With a nod to the museum’s history, we begin with American painters in an exhibion iniated by the Terra Foundaon for American Art. Then, beginning on 11 July, the focus will switch to the dynamic art scene in Brussels at the turn of the 20th century. Without of course forgeng the permanent exhibion that revolves around the collecon of this young museum and – naturally – Claude Monet. In addion to its wide-ranging programme of exhibions, the musée des impressionnismes Giverny offers its visitors a palee of acvies open to everyone, from the youngest to the oldest, and for specific publics, including those for whom the world of art is new. During your visit, you will also be able to enjoy the museum’s addional aracons, such as its restaurant and the flower garden designed by Mark Rudkin. They will also be the seng for a series of cultural events throughout the season, aimed primarily at a younger audience. And to celebrate its fih anniversary, during the first weekend in May the museum will mount special and innovave acvies to commemorate its opening in 2009.

We trust you will enjoy your visit!

Diego Candil, Director

Mary Cassa

Woman Sing with a Child in her Arms, c. 1890 Oil on canvas, 81 × 65.5 cm Museo de Bellas Artes de Bilbao © Museo de Bellas Artes de Bilbao Press packet / March 2014 American Impressionism: A New Vision Press packet / March 2014 American Impressionism: A New Vision summary

4 presentaon of the exhibion

6 overview of the exhibion

10 list of lenders

12 catalogue of the exhibion

14 quesons for the curator

16 press images

20 Terra Foundaon for American Art

James Abbo McNeill Whistler Nocturne: Blue and Silver – Chelsea (detail), 1871 - Tate, London, Bequeathed by Miss Rachel and Miss Jean Alexander, 1972, T01571 © Tate, London, 2014 Press packet / March 2014 American Impressionism: A New Vision

presentaon of

the exhibion

Claude Monet Meadow with Haystacks near Giverny (detail), 1885 - Museum of Fine Arts, Boston, Bequest of Dr. Arthur Tracy Cabot, 42.541 © Museum of Fine Arts, Boston, 2014 Press packet / March 2014 American Impressionism: A New Vision

American Impressionism A New Vision

For its fih anniversary, the musée des States began to apply impressionist ideas to disnctly impressionnismes Giverny connues to study the American sites and subjects. They appropriated certain impact of impressionism throughout the world. For aspects of impressionism − bright colours, sketchy the first half of the 2014 season, the musée has brushwork, modern subjects − and invented others, partnered with the Terra Foundaon for American Art adapng their individual styles for an American to organize American Impressionism: A New Vision, a audience. Cassa, Sargent, and James McNeill Whistler, major exhibion devoted to American art between but also others whose names are less familiar to 1880 and 1900. Organized in collaboraon with the European audiences, such as William Merri Chase, Naonal Galleries of Scotland and the Museo Thyssen- Childe Hassam, Edmund Tarbell, and John Henry Bornemisza, the exhibion offers a fresh exploraon Twachtman, were highly trained, widely travelled, of an American engagement with the techniques of cosmopolitan painters who sought inspiraon and impressionism on both sides of the Atlanc. praise both at home and abroad.

In Giverny, from March 28 to June 29, 2014, eighty Three venues in Europe painngs illustrate this unique iniave. Significant Musée des impressionnismes Giverny canvases by expatriates Cassa, Sargent, and Whistler "American Impressionism: A New Vision" From March 28 to June 29, 2014 demonstrate their roles in the development of impressionism, while works painted in Giverny and Naonal Galleries of Scotland Paris by Theodore Robinson and Childe Hassam reveal "American Impressionism: A New Vision, 1880-1900" a more gradual assimilaon of the new techniques. From July 19 to October 19, 2014 Carefully selected pictures by Claude Monet, Camille Pissarro and Edgar Degas provide context and point to Museo Thyssen-Bornemisza specific moments of dialogue. The exhibion expands « Impresionismo Americano » to explore the arrival of impressionism on the other From November 4, 2014 to February 1, 2015 side of the Atlanc. Arsts like Chase, Tarbell, Twachtman, and Frank Benson responded to This exhibion is organized by the musée des impressionnismes Giverny and the Terra Foundaon for impressionism in diverse ways, in essence creang a American Art in collaboraon with the Naonal Galleries of Scotland and the Museo Thyssen-Bornemisza. new vision for a new audience. With the generous support of the Terra Foundaon for American Art.

Mary Cassa exhibited with the French Impressionists

as early as 1879, just five years aer their inial group show, and John Singer Sargent worked alongside In France, the exhibion has received the patronage of Madame French colleagues to help shape avant-garde trends. Aurélie Filippe, Ministry of Culture and But younger American arsts learned of Communicaon and of the Embassy of The United States of America in impressionism through the painngs they saw in Paris, France.

as well as at home in Boston and New York. It was not Caisse d’Épargne Normandie unl aer 1890 that arsts working in the United is a local sponsor. Press packet / March 2014 American Impressionism: A New Vision

overview of the exhibion

John Singer Sargent Claude Monet Painng by the Edge of a Wood (detail), 1885 - Tate, London, Presented by Miss Emily Sargent and Mrs Ormond through the Art Fund, 1925, N04103 © Tate, London, 2014 Press packet / March 2014 American Impressionism: A New Vision

1. in Europe (1880- 1900)

“Miss Mary Cassa, though, has not gone the way of Giverny and Paris fashion, of the popular styles, of success, for she has gone In 1887, a group of young arsts from the United States and to the disparaged impressionists. A similarity of vision Canada seled in Giverny. Inspired by Monet and by the determined this choice, and this vision has expanded, has changing light of this Normandy village, Theodore Robinson become increasingly searching; this strong-willed woman slowly adopted spontaneous brushwork and a bright palee has truly learned to paint.” in his landscape scenes produced en plein air. Robinson Gustave Geffroy, La Vie Arsque, 1894 became friends with Monet and oen viewed painngs at his home. John Leslie Breck also learned from the French master during several years spent in Giverny between 1887 and Mary Cassa and John Singer 1891. He aempted to train his eye to the changing Sargent: A Cosmopolitan condions of weather and atmosphere in his cycle of haystack sketches painted in direct response to Monet’s Impressionism famous series. Childe Hassam encountered impressionism Mary Cassa occupies a firm place at the forefront of the while living in Paris between 1886 and 1889. He began to exhibion as the only American arst to exhibit with the experiment with brighter colours and more modern subjects impressionists in Paris. Works such as Young Girl at a in works like Le Jour du Grand Prix made for the Salon in Window or Children Playing on the Beach, were included in the final group show in 1886. Cassa culvated a long- 1888. lasng friendship with Edgar Degas and with Camille Pissarro, whose Woman with a Green Scarf was once owned by Cassa. Indeed, Cassa not only collected pictures for herself, she also played a significant role in the promoon of French impressionism to American collectors. John Singer Sargent is the second major figure in the exhibion, another expatriate who experimented with impressionism during his years in France and Great Britain. Luxembourg Gardens at Twilight and Parisian Beggar Girl from 1879-1880 with their bravura brushwork and modern, urban subjects hover on the edge of impressionism, but it was only several years later that Sargent brightened his palee and devoted himself to more spontaneous composions painted en plein air. This change resulted from his friendship with Claude Monet, whom he painted during a visit to Giverny in 1885. His Claude Monet at the John Singer Sargent Edge of a Wood, 1885 depicts the arst at work on a canvas Claude Monet Painng by the Edge of a Wood, 1885 that has been idenfied as Meadow with Haystacks near - Oil on canvas, 54 × 64.8 cm Giverny, one of his earliest haystacks. Tate, London, Presented by Miss Emily Sargent and Mrs Ormond through the Art Fund, 1925, N04103 © Tate, London, 2014 Press packet / March 2014 American Impressionism: A New Vision Press packet / March 2014 American Impressionism: A New Vision

2. in the United States (1890- 1900)

“…it is interesng to observe how in Paris and London and New York Impressionism is in evidence among the younger Women in White under the men, and a prismac glamour is to be seen in every Summer Sun direcon – in opalisc skies and seas, in landscapes variegated with peculiar delicately nted crops, and sll At the end of the nineteenth century, during the period more peculiar portraits…” known as the American Gilded Age, women and children oen wore white to embody purity and innocence. W.H.W. “What is Impressionism?”, Art Amateur 27 (November 1892), p. 140. Luminous and authenc, the colour white aracted arsts like Cecilia Beaux and John Singer Sargent. Vast expanses of fabric became arenas for arsc exploraon. Edmund The Return to America: A Search Tarbell and Frank Benson emphasized the luminosity of for Nave Subjects white dresses by posing their siers under a bright, summer sun. Tarbell exhibited In the Orchard at the Chicago Columbian Exposion in 1893 and received praise for the Prismac colour, broken brushwork, and purple shadows became prevalent at exhibions in New York, Philadelphia, perceived ‘American-ness’ of the work. Benson’s healthy, and Boston in the early 1890s, and U.S. crics aempted to outdoor women and girls represented a new, tweneth explain the new works. When arsts returned to the United century ideal. States aer years of study in Europe, they sought to adapt impressionism to a new audience and chose nave subjects, especially local or familiar ones. William Merri Chase A “Whistlerian” Impressionism abandoned his dark palee to create a series of bright, urban park scenes in 1887 and 1888. He connued to James McNeil Whistler remained a U.S. cizen even though devote himself to luminous, outdoor pictures of women and he, like Sargent, spent most of his life in Europe. Whistler children at leisure during summers on the coast of Long forged a new aesthec with his ethereal, unusual pictures Island in the 1890s. Childe Hassam, Theodore Robinson and entled Harmonies and Nocturnes. In the late 1860s and Dennis Miller Bunker painted scenes of New York City, New early 1870s, while working in London he painted England villages, and the coast of Maine with the bright monochromac nocturnes in smooth washes of highly colours, loose brushwork, and interest in the fleeng moment characterized by the French Impressionists. thinned paint. Pictures such as Nocturne: Blue and Silver – Chelsea, 1871 preceded impressionism and influenced countless Brish, French, and American arsts. When John Henry Twachtman seled in rural Conneccut in 1886, he found inspiraon in Whistler as well as in impressionist pictures of snow and developed his own aesthec. The white snow allowed him to combine percepon with Childe Hassam Union Square in Spring (detail), 1896 emoon and to produce myscal painngs filled with - Smith College Museum of Art, Northampton, Massachuses, personal meanings. Purchased with the Winthrop Hillyer Fund, 1905:3.1 © Smith College Museum of Art, Northampton

list of

lenders

Edmund C. Tarbell Three Sisters – A Study in June Sunlight (detail), 1890 - Oil on canvas, 89.2 x 101.9 cm Milwaukee Art Museum, Milwaukee, Wisconsin, Gi of Mrs. Montgomery Sears, M1925 © Milwaukee Art Museum / Photo: John R. Glembin Press packet / March 2014 American Impressionism: A new vision

United-States Europe

Atlanta, Georgia, High Museum of Art Spain Boston, Massachusses, Museum of Fine Arts Bilbao, Museo de Bellas Artes Brooklyn, New York, Brooklyn Museum Madrid, Museo Thyssen-Bornemisza Chicago, Illinois, Terra Foundaon for American Art Madrid, Collecon Carmen Thyssen-Bornemisza, on loan at Harord, Conneccut, Wadsworth Atheneum Museum the Museo Thyssen-Bornemisza of Art

Indianapolis, Indiana, Indianapolis Museum of Art Milwaukee, Wisconsin, Milwaukee Art Museum France Minneapolis, Minnesota, Minneapolis Instute of Arts Montpellier Aggloméraon, musée Fabre New Britain, Conneccut, New Britain Museum Paris, musée d’Orsay of American Art Paris, Pet Palais, musée des Beaux-Arts de la ville de Paris New York, New York, The Metropolitan Museum of Art Northampton, Massachuses, Smith College Museum United-Kingdom of Art Edinburgh, Naonal Galleries of Scotland Philadelphia, Pennsylvania, Philadelphia Museum of Art London, Tate Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts Providence, Rhode Island, Museum of Art, Rhode Island School of Design Rochester, New York, Memorial Art Gallery, University of Rochester Toledo, Ohio, Toledo Museum of Art Tulsa, Oklahoma, Gilcrease Museum Washington D.C., Corcoran Gallery of Art Washington D.C., House Collecon Dumbarton Oaks Washington D.C., Naonal Gallery of Art Washington D.C., Smithsonian American Art Museum Water Mill, New York, Parrish Art Museum Waterville, Maine, Colby College Museum of Art

the catalogue of

exhibion

John Singer Sargent Lady Agnew of Lochnaw (1865–1932) (detail), 1892 - Oil on canvas, 127 x 101 cm Scosh Naonal Gallery, Edinburgh, Purchased with the aid of the Cowan Smith Bequest Fund, 1925, NG 1656 © Naonal Galleries of Scotland, Edinburgh / Photo: A. Reeve Press packet / March 2014 American Impressionism: A New Vision

American Impressionism: Katherine Bourguignon is Associate Curator at the Terra Foundaon for American Art Europe. A specialist of French and American art of the late nineteenth and early A New Vision tweneth century, she holds a Ph.D. from the University of Pennsylvania. Since 2007, she has organized exhibions in Giverny, San Diego, and Tokyo devoted to the internaonal Catalogue published by the musée des impressionnismes Giverny, the arsts’ colony of Giverny. In recent years, she has co- Naonal Galleries of Scotland, the Museo Thyssen-Bornemisza, and Édions Hazan, in partnership with the Terra Foundaon for American organized focused exhibions on American art with the Art. Naonal Gallery of London: George Bellows in 2011 and Frederic Edwin Church in 2013.

American Impressionism: A New Vision, 1880-1900 is Richard Breell is Professor and Disnguished Chair of published on the occasion of the exhibion co-organized by Art and Aesthec studies at the University of Texas at the musée des impressionnismes Giverny and the Terra Dallas. He is a leading authority of French painng of the Foundaon for American Art in collaboraon with the nineteenth century and has published extensively on Naonal Galleries of Scotland and the Museo Thyssen- Impressionism. In 1999, Dr. Breell helped create FRAME Bornemisza. The catalogue reproduces more than 80 (French Regional American Museum Exchange), a formal painngs by significant American arsts, including Mary collaboraon of museums in the United States and France. Cassa, John Singer Sargent, James McNeil Whistler, Childe In 2001, he organized a significant exhibion entled Hassam, William Merri Chase, Edmund Tarbell, and John Impression: Painng Quickly in France at the Naonal Henry Twachtman. Depicng city parks, rural landscapes, Gallery London, the Van Gogh Museum in Amsterdam and and women dressed in white, many of the pictures will be a the Clark Art Instute. Recent publicaons include essays in discovery for European audiences. Essays by Richard Pissarro (Museo Thyssen-Bornemisza 2013); Edouard Breell, Frances Fowle and Katherine Bourguignon provide Vuillard, a Painter and his Muses, 1890-1940 (Stephen a scholarly context for the exhibion. In his thought- Brown, Yale 2012); Great French Painngs from the Clark provoking introducon, Dr. Breell raises quesons about (Skira Rizzoli, 2011). naonal identy in the terms “French Impressionism” and

“American Impressionism”. Dr. Fowle, in her capvang essay devoted to the beginning of American Impressionism Frances Fowle is Senior Curator of French art at the in Europe, emphasizes the interacons of individual Scosh Naonal Gallery and Reader in History of Art at the American arsts with impressionist techniques and ideas University of Edinburgh. Dr. Fowle holds a Ph.D. from the between 1880 and the early 1890s. In her text, Dr. University of Edinburgh and is an expert of French Bourguignon turns to the United States and explores the Impressionism and landscape painng in Europe. She has many ways American arsts appropriated and adapted organized exhibions devoted to impressionism and impressionism to nave subjects aer 1890. The catalogue symbolism and has contributed scholarly texts to a number is published in three versions (French, English and Spanish) of catalogues. Recent publicaons include co-authored by Hazan, and is distributed in the UK and the US by Yale texts Peploe (Yale U.P. 2012) devoted to Samuel John University Press. Peploe, a Scosh post-impressionist; Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 (Thames & Hudson 2012); and Monet and French Landscape: Vétheuil and Normandy (NGS publicaons, Edinburgh 2006).

Cover of the catalogue

- Version: French, English and Spanish Coedion: musée des impressionnismes Giverny, Naonal Galleries of Scotland, Museo Thyssen-Bornemisza, and Édions Hazan, In partnership with the Terra Foundaon for American Art. Publicaon: March 2014 Size: 24 × 29 cm 160 pages Price: 29 euros quesons for the curator

Denis Miller Bunker The Pool, Medfeld (detail), 1889 - Oil on canvas, 47 x 61.6 cm Museum of Fine Arts, Boston, Emily L. Ainsley Fund, 45.475 © Museum of Fine Arts, Boston, 2014 Press packet / March 2014 American Impressionism: A new vision

Quesons for the Curator of the - John Singer Sargent spent most of his career in Europe. When was that? Why did he remain so long in Europe? Exhibion, Katherine Bourguignon, Sargent was born in Florence to American parents. He spent his Associate Curator of the Terra enre life in Europe, making his first trip to the United States in Foundaon for American Art Europe 1876 at the age of twenty. He returned for extended visits but never lived in America. As a true expatriate, Sargent was more at - What movated Mary Cassa to exhibit with the home in London, Paris, or Venice. He sll considered himself impressionists? In what ways did she promote French art among ‘American,’ however, and culvated his career on both sides of the American collectors? Atlanc. Cassa was in Rome when the arsts who became known as the - In France, he was close to Claude Monet. How did their friend- impressionists first exhibited together in Paris in 1874; she did not ship begin? What were there mutual arsc influences? visit the show. During this period, Cassa was exhibing regularly at the Paris Salon, although she began to show interest in It may have been in 1876 at the Durand-Ruel Gallery in Paris that independent exhibions and admired the work of Edgar Degas. In Sargent and Monet met for the first me. In 1881 they both parc- 1877, Degas invited Cassa to parcipate in the fih exhibion of ipated in a small exhibion in Paris at the Cercle des arts libéraux. the impressionist group in 1879. From then on, like the Sargent was sixteen years younger than Monet, and their corre- impressionists, Cassa no longer parcipated in the Paris Salon spondence shows the American seeking advice. The two arsts and increasingly supported avant-garde arsts. Throughout her became friends, and we know that Sargent visited Monet in Giver- career, Cassa encouraged friends and family members to buy ny several mes in the mid-1880s. Inspired by Monet, Sargent impressionist art. In 1877, she advised her friend Louisine undertook an extended series of outdoor works in rural England Havemeyer to purchase her first picture by Degas. The during this period, working in an impressionist manner. It is inter- Havemeyers would acquire more than sixty-five painngs and esng to note that in the mid to late 1880s Monet returned to pastels by Degas over the years. Cassa had several goals in figure painng, posing family members outdoors. Could it be pos- promong French art to her American friends. She wanted to help sible that the Frenchman found inspiraon in Sargent, known for her arst friends earn money through the sale of their art, and she his figurave painngs? In any case, Sargent also played a role in also wanted to bring fine works of art to collecons and museums finding collectors for Monet’s art. in the United States. She knew how important it was for her fellow

Americans to come into contact with the best European art – Old Masters as well as Impressionists. - Was Whistler linked to French Impressionist arsts? Whistler never exhibited with the Impressionist group but he - What did Americans think of French Impressionism in the maintained several close friendships with individual impression- 1880s? ists. He met Degas in the early 1860s, and the two arsts respect- At the beginning of the 1880s, French Impressionism was oen ed each others’ art. Around 1870, Whistler and Monet found caricatured and misunderstood in the American press. Journalists themselves in the same arsc circles and by 1876 had started a were confused by the new style and its ideas. Because most of correspondence. It was not unl ten years later, however, that these crics had never seen an impressionist painng in person, they became close friends. They began to exhibit together and they oen associated the movement with arsts as diverse as visited one another regularly. Whistler, six years older than Monet, Corot, Manet, Whistler or even Winslow Homer. During the 1880s, invited him to exhibit with the Society of Brish Arsts in 1886 several exhibions brought French impressionist art to the United and, the following year, Monet encouraged Whistler to send States. Some crics connued to denounce it while others sought painngs to the Gallery Georges Pet in Paris. to understand and explain it.

- Certain arsts seled in Giverny. How can you explain this - Upon their return home, how successful were American arsts choice of locaon? in exhibing their impressionist painngs? What was the crical The arsts who arrived in Giverny in the late 1880s were searching recepon of these canvases? for a rural seng not far from Paris where they could paint outdoors. Arsts’ colonies like Barbizon and Grez-sur-Loing were As early as 1890, arsts like Theodore Robinson and John Leslie already quite popular by the late 1880s while Giverny was a new Breck began to exhibit their Giverny painngs in the United States locaon, not yet filled with arsts. The first group of Americans even as they connued to frequent the village. Despite several seled in the village in 1887 and began to paint in and around the posive reviews, the painngs were not admired by the general village, meeng Monet. Within just a few years, however, the public. During the 1890s, arsts like William Merri Chase, Childe small village had aracted so many arsts, that it had become a Hassam and Edmund Tarbell exhibited in New York and Boston, true arsts’ colony. In light of this ‘invasion’ of young arsts from slowly gaining aenon. In 1893, at the Chicago World’s Columbi- all over the world, Monet gradually withdrew into his private an Exhibion, most of the painngs in the American secon had an garden to paint. impressionisc manner, demonstrang that the style had taken hold. Indeed, many American arsts connued to paint in an im- pressionist style unl the start of World War I, especially those who moved to California aer the turn of the century. images

Mary Cassatt Summertime, 1894 - Oil on canvas, 100.6 × 81.3 cm Terra Foundation for American Art, Chicago, Daniel J. Terra Collection, 1988.25 © Terra Foundation for American Art, Chicago Press packet / March 2014 American Impressionism: A new vision

These images are only available to illustrate arcles about the exhibion and for its duraon. All other rights reserved.

Press packet / March 2014 American Impressionism: A new vision

William Merri Chase Dans le parc, 1889 - Oil on canvas, 35.5 x 4 9 cm Carmen Thyssen-Bornemisza Collecon, on loan at the Museo Thyssen-Bornemisza, Madrid, CTB. 1979.15 © Carmen Thyssen-Bornemisza Collecon, Madrid

Mary Cassa Woman Sing with a Child in her Arms, c. 1890 Frank W. Benson - Eleanor, 1901 Oil on canvas, 81 × 65.5 cm - Museo de Bellas Artes, Bilbao, 82/25 Oil on canvas, 76.2 x 64.1 cm © Museo de Bellas Artes, Bilbao Museum of Art, Rhode Island School of Design, Gi of the Estate of Mrs. Gustav Radeke, 31.079 © Museum of Art, Rhode Island School of Design, Providence / Photo: Erik Gould

William Merri Chase Near the Beach, Shinnecock, 1895 - Oil on canvas, 76.2 x 122.2 cm Toledo Museum of Art, Toledo, Ohio, Gi of Arthur J. Secor, 1924.58 © Toledo Museum of Art/ Photo: Photography Incorporated,

Dennis Miller Bunker The Pool, Medfield, 1889 - Oil on canvas, 47 x 61.6 cm Museum of Fine Arts, Boston, Emily L. Ainsley Fund, 45.475 © Museum of Fine Arts, Boston, 2014 Mary Cassa Summerme, 1894 - Oil on canvas, 100.6 × 81.3 cm Terra Foundaon for American Art, Chicago, Daniel J. Terra Childe Hassam Collecon, 1988.25 Union Square in Spring, 1896 © Terra Foundaon for American Art, Chicago - Oil on canvas, 54.6 x 5 3.3 cm Smith College Museum of Art, Northampton, Massachuses, Purchased with the Winthrop Hillyer Fund, 1905:3.1 © Smith College Museum of Art, Northampton Press packet / March 2014 American Impressionism: A new vision

Claude Monet Meadow with Haystacks near Giverny, 1885 - Edmund C. Tarbell Oil on canvas, 74 × 93.5 cm In the orchard, 1891 Museum of F ine Arts, Boston, Bequest of Dr. Arthur Tracy - Cabot, 42.541 Oil on canvas, 154.3 x 166.4 cm © Museum of Fine Arts, Boston, 2014 Terra Foundaon for American Art, Chicago, Daniel J. Terra Collecon, 1999.141 © Terra Foundaon for American Art, Chicago

John Singer Sargent Lady Agnew of Lochnaw (1865–1932), 1892 - Oil on canvas, 127 x 101 cm Scosh Naonal Gallery, Edinburgh, Purchased with the aid of the Cowan Smith Bequest Fund, 1925, NG 1656 © Naonal Galleries of Scotland, Edinburgh / Photo: A. Reeve

John Henry Twachtman Emerald Pool, Yellowstone, c. 1895 - Oil on canvas, 64.1 × 76.8 cm Wadsworth Atheneum Museum of Art, Harord, Conneccut, Bequest Theodore Robinson of George A. Gay, by exchange, and The Ella Gallup Sumner and Mary Blossoms at Giverny, 1891-1892 Catlin Sumner Collecon Fund, 1979.162 - © Wadsworth Atheneum Museum of Art/Art Resource, NY/Scala, Oil on canvas, 54.9 × 51.1 cm Florence, 2014 Terra Foundaon for American Art, Chicago, Daniel J. Terra Collecon, 1992.130 Edmund C. Tarbell © Terra Foundaon for American Art, Chicago Three Sisters – A Study in June Sunlight, 1890 - Oil on canvas, 89.2 x 101.9 cm Milwaukee Art Museum, Milwaukee, Wisconsin, Gi of Mrs. Montgomery Sears, M1925 © Milwaukee Art Museum / Photo: John R. Glembin

James Abbo McNeill Whistler Nocturne: Blue and Silver – Chelsea, 1871 - Oil on wood, 50.2 x 6 0.8 cm John Singer Sargent Tate, London, Bequeathed by Miss Rachel and Miss Jean Alexander, Claude Monet Painng by the Edge of a Wood, 1885 1972, T01571 - © Tate, London, 2014 Oil on canvas, 54 × 64.8 cm Tate, London, Presented by Miss Emily Sargent and Mrs Ormond through the Art Fund, 1925, N04103 © Tate, London, 2014 Terra Foundaon for American

Art

Edmund C. Tarbell In the Orchard (detail), 1891 -

Oil on canvas, 154.3 x 166.4 cm Terra Foundaon for American Art, Chicago, Daniel J. Terra Collecon, 1999.141 © Terra Foundaon for American Art, Chicago Press packet / March 2014 American Impressionism: A new vision

The Terra Foundaon for American Art is proud to be co- organizer and sponsor of « American Impressionism: A New Partnerships Vision, 1880-1900,” which results from an inspiring, ongoing The foundaon collaborates with instuons worldwide to partnership with the musée des impressionnismes Giverny. create new and excing ways to connect people with Amer- Our founder, Daniel Terra, believed that engagement with ican art. For example, long-term partnerships with the original works of art could be a transformave experience, Musée du Louvre in Paris and The Naonal Gallery in Lon- and throughout his lifeme he worked to share his don have introduced American art to European audiences, collecon of American art with audiences worldwide. as well as placed works of historical art from the United Today, we honor his legacy by fostering the exploraon, States in dialogue with two pre-eminent collecons. Ongo- understanding, and enjoyment of the visual arts of the ing collaboraons with these instuons will enable presen- United States through innovave exhibions such this one, taons of American art over the next several years. Addi- which inspires mul-naonal perspecves and meaningful onally, a partnership with the Solomon R. Guggenheim cross-cultural dialogues. We also support research and Foundaon rendered the first survey of historical American educaonal programs across the globe, movated by the art to travel to Beijing, Shanghai, Moscow, and Bilbao. Last- belief that art has the potenal both to disnguish cultures ly, a recent collaboraon with the Philadelphia Museum of and to unite them. Art, the Museum of Fine Arts Houston, and the Los Angeles County Museum of Art introduced historical American art to Grant Program South Korea and subsequently travelled to Australia.

The grant program offers support for American art exhibions and academic programs worldwide. In addion, it supports public and school programs in Chicago. Over Paris Center & Research Library recent years, the foundaon has provided approximately In 2009 the Foundaon opened a resource centre in Paris $45 million for some 450 exhibions and scholarly programs dedicated to serving internaonal scholars and curators, as in over thirty countries, including France, Germany, Spain, well as members of the public. The Terra Foundaon’s Paris the United Kingdom, Russia, Australia, Mexico, Brazil, China, Center creates and disseminates new research on American and Japan. art through instuonal partnerships, academic programs, and exhibions, as well as residenal programs in Giverny, France. Art Collecon The Terra Foundaon's collecon of American art comprises Academic programs are developed in close collaboraon more than 700 painngs, works on paper, and sculptures with universies and museums throughout Europe, includ- dang from the late eighteenth century through 1945 by ing research and teaching fellowships, publicaon grants, such arsts as John Singleton Copley, James McNeill residenal programmes for scholars, as well as public con- Whistler, Mary Cassa, Winslow Homer, Marsden Hartley, ferences and symposia. The Terra Foundaon’s Paris Center and Edward Hopper. The foundaon works to ensure its welcomes a growing internaonal community of American collecon is accessible: it lends artworks to exhibions art scholars, providing a regular forum on art of the United worldwide; creates focused shows of its collecon for public States – the only one of its kind in Europe – through a wide exhibion; and maintains a comprehensive database of the variety of lectures, workshops, and symposia. Since the collecon on its website. Center’s opening, hundreds of scholars have parcipated in events there. The Paris Center is also home to the Terra Foundaon Library of American Art, Europe’s only research library devoted exclusively to the visual arts of the United States. Specializing in the art of the nineteenth and early tweneth centuries, the library contains more than 9,500 tles on painng, sculpture, and graphic arts, as well as photography and decorave arts, all of which are available online. Press packet / March 2014 American Impressionism: A new vision

The Terra Foundaon has also funded conferences and Terra Foundaon for American symposia at the Ecole Normale Supérieure, Université Paris Diderot-Paris 7, Instut Naonal d’Histoire de l’Art, Art in France in 2014 and Musée des Beaux-Arts de Lyon, among other instu- The Terra Foundaon for American Art has had a long- ons. In December 2013, for example, a study day on standing presence in France through its exhibion grants and hundreth anniversary of the New York Armory Show was partnerships, academic programs, and professorships. For co-organised by the Foundaon, the New York Historical example, grants have been awarded to the Musée d’Orsay, Society, and the Musée d’Orsay, where the event was Centre Pompidou, and Jeu de Paume, among others. In held. addion, the Foundaon has partnered with a number of museums to develop and present: Since 2009 the Foundaon has awarded postdoctoral teaching fellowships and vising professorships at the Instut Naonal d’Histoire de l’Art, supporng advanced “Plain Indians” inquiry in American art history. They are shared be- at Musée du Quai Branly (2014), tween leading academic instuons in Paris and beyond, such as the Université Paris Diderot - Paris 7, the Univer- sité Paris Ouest Nanterre La Défense, and the Université “American Encounters: Anglo-American François-Rabelais de Tours. Portraiture in an Era of Revoluon” at Musée du Louvre (2014), “Through the Paris Center, we are invigorang a rich dialogue on American art,” states Amy Zinck, Vice President and Director of the Terra “Joseph Cornell and the Surrealists in New Foundaon for American Art Europe. “Moving forward York: Dalí, Duchamp, Ernst, Man Ray…” we will connue to support and expand these pro- at Musée des Beaux-Arts de Lyon (2014), grammes and partnerships throughout Europe and serve as a central resource and place of convergence for schol- “Roy Lichtenstein” ars interested in American art”. at Centre Pompidou (2013),

“Edward Hopper” at the Galeries Naonales du Grand Palais (2012).

For further informaon on these and other Terra Foundaon acvies and opportunies for support, please visit terraamericanart.org or contact: Francesca Rose in Paris [email protected] Theodore Robinson or +33 1 43 20 32 06 Blossoms at Giverny, 1891-1892 - or Oil on canvas, 54.9 × 51.1 cm Charles Mutscheller in Chicago Chicago, Terra Foundaon for American Art, Collecon Daniel J. Terra, 1992.130 [email protected] © Terra Foundaon for American Art, Chicago or +1 312 654 2259

Useful informaon Admission fee

Musée des impressionnismes Giverny Ticket for galleries 99 rue Claude Monet | 27 620 Giverny Adult: 7 € T 02 32 51 94 65 | [email protected] | Child 12 to 18 / Student: 4,50 € www.mdig.fr Child 7 to 11: 3 € Visitor with disabilies: 3 € From March 28th to November 2nd, Child under 7: free from 10 am to 6 pm Last admission 5:30 pm Free on 1st Sunday of the month Galleries will be closed to the public from June 30th to July 10th Family cket: Buy 3 ckets get one free child (The Autour de Claude Monet admission gallery will remain open) . Annual Pass: 20 €| Duo Pass: 35 € Open everyday Audioguide: 3 € Free on 1st Sunday of the month Combined ckets * On place: restaurant – tea-room, Musée des impressionnismes gi shop-bookstore + Maison et Jardins de Claude Monet Adult: 16,50 € Child 12 to 18 / Student: 9,50 € Child 7 to 11: 8 € Visitor with disabilies: 7 € Child under 7: free

Musée des impressionnismes + Musée de Vernon Adult: 9 € Student over 26: 6,50 € Child under 7: gratuit

Available to individuals only, no queuing required.

Online purchasing available: www.mdig.fr www.fnac.com John Henry Twachtman (* addional charge for management costs Emerald Pool, Yellowstone (detail), c. 1895 - Wadsworth Atheneum Museum of Art, Harord, Conneccut, Bequest of George A. Gay, by exchange, and The Ella Gallup Sumner and Mary Catlin Sumner Collecon Fund, 1979.162 © Wadsworth Atheneum Museum of Art/Art Resource, NY/Scala, Florence, 2014

Musée For further informaon des impressionnismes Giverny Please contact:

99 rue Claude Monet Anne Samson Communicaons BP 18 Léopoldine Turbat 27620 Giverny T: 01 40 36 84 35 France [email protected]

T: 33 (0) 232 51 94 65 At museum F: 33 (0) 232 51 94 67 Head of Communicaon and Partnerships Opening every day Géraldine Brilhault T: 02 32 51 92 48 [email protected] [email protected] www.facebook.com/mdig.fr www.mdig.fr

Open from March 28 March to June 30, 2014 Every day from 10am to 6pm (last admission 5.30pm)

The galleries will be closed from June 30 to July 10, 2014

Frank W. Benson Eleanor (detail), 1901 - Oil on canvas, 76.2 x 64.1 cm Museum of Art, Rhode Island School of Design, Providence, Gi of the Estate of Mrs. Gustav Radeke, 31.079 © Museum of Art, Rhode Island School of Design, Providence / Photo: Erik Gould