Snow Effect at Argenteuil
Framed: 29 × 35 × 3 inches (73.66 × 88.9 × 7.62 cm)
- 127
Claude Monet; A. Rodin, Galerie Georges
Petit, Paris, opened June 21, 1889, no. 18, as Effet de neige; Argenteuil.
A Loan
Exhibition of Paintings by Claude Monet For the Benefit of The Children of
Giverny,
Wildenstein, New York, April 11-May 12,
1945, no. 10, as Rue de Village en Normandie.
Important XIX
and XX Century Works of Art, The Lefevre Gallery, London,
June 20-July 27, 1985, no. 10, as Neige à
Argenteuil.
Manet to Matisse: Impressionist Masters
from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art,
Kansas City, MO, June 9-September 9, 2007, no. 9, as Snow at Argenteuil
(Neige à Argenteuil).
A major snowstorm in the winter of 1874–1875 inspired several Impressionist artists to paint its effects in Paris and surrounding suburbs. Claude Monet was particularly drawn to capturing the record snowfall, producing 16 paintings from both inside and around his home in Argenteuil. Here, Monet depicted the aftermath of the storm. The sensation of sunlight beginning to warm the earth and melt the snow is masterfully conveyed through his close attention to light, color, and atmosphere.
Probably with the artist, until at least June 21, 1889 [1];
With Galerie Georges Petit, Paris, by October 19, 1892;
Purchased from Galerie Georges Petit, Paris, by Boussod, Valadon et Cie, Paris, stock no. 22538, as Entrée de Village, neige, October 19, 1892 [2];
Transferred from Boussod, Valadon et Cie, Paris, to Boussod, Valadon et Cie, New York, by April 15, 1898;
Purchased from Boussod, Valadon et Cie, New York, by Henry Osborne (1847-1907) and Louisine Waldron (née Elder, 1855-1929) Havemeyer, New York, 1898-December 4, 1907;
Inherited by Louisine Waldron Elder Havemeyer, New York, 1907-January 6, 1929;
Purchased at her posthumous sale, Important Paintings from the Havemeyer Estate, Part I, American Art Association, New York, April 10, 1930, lot 85, as Village Street, by H. E. Russell for David Melville (1891-1984) and Ruth (née Stein, 1899-1979) Heyman, 1930-1984;
Purchased at their posthumous sale, Impressionist and Modern Paintings and Sculpture, Christie’s, New York, May 16, 1984, lot 8, as Neige a [sic] Argenteuil, by Alex Reid and Lefèvre Ltd., London, 1984-June 8, 1988 [3];
Purchased from Alex Reid and Lefèvre Ltd., through Susan L. Brody Associates, New York, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, 1988-June 15, 2015 [4];
Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] The painting was exhibited at Claude Monet; A. Rodin at Galerie Georges Petit, Paris, which opened on June 21, 1889. Many of the other pictures exhibited have a specified lender, but not lot 18, titled Effet de neige; Argenteuil, which means that Monet probably lent the work from his private collection. Pictures owned by Georges Petit in 1889 were listed as such in the exhibition catalogue.
[2] This picture entered the Boussod, Valadon, et Cie stockbook on October 19, 1892. See “Goupil Book 14, Stock No. 22538, Page 31, Row 2,” The Getty Research Institute, Los Angeles, Dealer Stock Books, as Entrée de Village, neige.
[3] See email from Darragh O’Donoghue, Tate Archives, to Glynnis Stevenson, NAMA, October 30, 2018, NAMA curatorial files.
[4] Phone call from Susan Brody to Brigid Boyle, NAMA, June 10, 2015, see notes in NAMA curatorial files.
Claude Monet; A. Rodin, exh. cat. (Paris: Galerie Georges Petit, 1889), 29 [repr. in Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 34, Miscellaneous Group Exhibitions (New York: Garland, 1981), unpaginated], as Effet de neige; Argenteuil.
Possibly Gustave Geffroy, Claude Monet, sa vie, son œuvre, vol. 1 (Paris: Les Éditions G. Crès et Cie, 1924), 156, as Effet de neige à Argenteuil.
The Estate of Mrs. H. O. Havemeyer, Part I: Oil Paintings (New York: American Art Association, Anderson Galleries, April 10, 1930), 63, (repro.), as Village Street.
The H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art (Portland, ME: Southworth Press, 1931), 504, as Landscape—Village Street.
A Loan Exhibition of Paintings by Claude Monet For the Benefit of the Children of Giverny, exh. cat. (New York: Wildenstein, 1944), 24, as Rue de Village en Normandie.
John Rewald, “Monet Serves His Home Village: For Giverny’s Reconstruction, a Retrospective Re-esteems the First Impressionist,” ArtNews 44, no. 6 (May 1–14, 1945): 22, (repro.), as Rue de Village en Normandie.
Impressionism in the collection of the Museum of Fine Arts, Boston (Boston: Museum of Fine Arts, 1973), unpaginated.
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1, 1840-1881: Peintures (Lausanne: La Bibliothèque des Arts, 1974), no. 349, pp. 73, 262-63, 460, as Neige à Argenteuil.
Impressionist and Modern Paintings and Sculpture (New York: Christie’s, May 16, 1984), 26, (repro.), as Neige a [sic] Argenteuil.
Important XIX and XX Century Works of Art, exh. cat. (London: Lefevre Gallery, 1985), 22-23, as Neige à Argenteuil.
John House, Monet: Nature into Art (New Haven, CT: Yale University Press, 1986), 167-68, (repro.), as Snow at Argenteuil.
Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Harry N. Abrams, 1986), 130, 237, (repro.), as Snow at Argenteuil.
Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures, Dessins, Pastels, Index (Lausanne: Wildenstein Institute, 1991), no. 349, pp. 29, 292, 328, 332, 336, as Neige à Argenteuil.
Alice Cooney Frelinghuysen, et al., Splendid Legacy: The Havemeyer Collection, exh. cat. (New York: Metropolitan Museum of Art, 1993), 223, 362-63, (repro.), as Snow at Argenteuil.
Daniel Wildenstein, Monet or the Triumph of Impressionism (Cologne: Benedikt Taschen Verlag GmbH, 1996), no. 349, p. 114.
Daniel Wildenstein, Monet: Catalogue Raisonné-Werkverzeichnis, vol. 2, Nos. 1-968 (Cologne: Benedikt Taschen Verlag GmbH, 1996), no. 349, p. 144, (repro.), as Neige à Argenteuil, Snow at Argenteuil, and Schnee in Argenteuil.
Charles S. Moffett et al., Impressionists in Winter: Effets de Neige, exh. cat. (Washington, D.C.: Phillips Collection, 1998), 96-97, (repro.), as Snow at Argenteuil.
Rebecca Dimling and Bobbie Leigh, “100 Top Collectors Who Have Made a Difference,” Art and Antiques (March 2006): 90.
Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 29, no. 6 (June 2006): 62, 64-65, (repro.).
“Inaugural Exhibitions Celebrate Kansas City,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.
Alice Thorson, “A final countdown - A rare showing of Impressionist paintings from the private collection of Henry and Marion Bloch is one of the inaugural exhibitions at the 165,000-square-foot glass-and-steel structure,” Kansas City Star (June 29, 2006): B1.
Alice Thorson, “First Public Exhibition-Marion and Henry Bloch’s art collection: A tiny Renoir began impressive obsession Bloch collection gets its first public exhibition-After one misstep, Blochs focused, successfully, on French paintings,” Kansas City Star (June 3, 2007): E4.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11.
Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 24, (repro.), as Snow at Argenteuil.
Joseph Baillio, Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (New York: Wildenstein, 2007), 144, as Snow at Argenteuil.
Alice Thorson, “Museum to Get 29 Impressionist Works from the Bloch Collection,” The Kansas City Star (February 5, 2010): A1.
Carol Vogel, “Inside Art: Kansas City Riches,” New York Times 159, no. 54,942 (February 5, 2010): C26, (repro.), as Snow at Argenteuil.
Mary Mathews Gedo, Monet and his Muse: Camille Monet in the Artist’s Life (Chicago: University of Chicago Press, 2010), 155.
Daniel Wildenstein, Monet or the Triumph of Impressionism (Cologne: Benedikt Taschen Verlag GmbH, 2010), no. 349, p. 114.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 174-75.
Possibly Jean-François Demeure, Monet en Creuse: Le printemps d'une méthode (Limoges, France: Éditions Culture et Patrimoine en Limousin, 2011), 38, as Effet de neige à Argenteuil.
Diane Stafford, “Bloch gift to go for Nelson upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces,” artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9I.
Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/site/archives/docs_article/129801/le-nelson-atkins-museum-of-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs-repliques.php.
Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (August 6, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection.
Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.
Nina Siegal, “Upon Closer Review, Credit Goes to Bosch,” New York Times 165, no. 57130 (February 2, 2016): C5.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-NDepNKhaQ.
“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.com/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.W-NDv5NKhaQ.
Ross King, Mad Enchantment: Claude Monet and the Painting of the Water Lilies (New York: Bloomsbury, 2016), 120.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 61, (repro.), as Snow at Argenteuil.
David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star (February 25, 2017): 1A.
Albert Hect, “Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017):
http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/.
David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 5D, (repro.), as Snow at Argenteuil.
“The Nelson-Atkins Museum of Art: Presenting the Bloch Galleries,” New York Times (March 5, 2017).
“Editorial: Thank you, Henry and Marion Bloch”, Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html [repr. “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].
Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017):
http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/.
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries Feature Old Masterworks and New Technology,” KCUR (March 10, 2017):
Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story,’” Art Newspaper (March 10, 2017):
Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html.
Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr. in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20-22], as Snow at Argenteuil.
Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” BlouinArtInfo International (March 15, 2017):
Erich Hatala Matthes, “Digital replicas are not soulless – they help us engage with art,” Apollo (March 23, 2017):
https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/.
Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/.
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017):
Richard Thomson, Monet and Architecture, exh. cat. (London: National Gallery Company, 2018), 218.
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019), https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true.
Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019), https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html.
Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/.
“Henry Wollman Bloch (1922-2019),” Art Forum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547.
Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” npr.org (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96.
Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ.
Eric Adler and Joyce Smith, “H&R Block co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.
Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.
Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30 2019): 4A [repr. Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].
Glynnis Stevenson, “Claude Monet, Snow Effect at Argenteuil, 1875, and Snow Effect at Argenteuil, 1875,” catalogue entry, and Diana M. Jaskierny, “Claude Monet, Snow Effect at Argenteuil, 1875 (2015.13.14)” technical entry in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.628.5407.
