Giverny

1889

Theodore Robinson American, 1852-1896

On View

American, Level 2, West Wing

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About the Artwork

Tucked into the Seine Valley and surrounded by rolling hills, low marshlands, and stands of poplar and willow, the hamlet of Giverny appeared to the French impressionist master Claude Monet as a rural paradise. He settled there in 1883, and his presence drew young painters—eager to adopt his method of plein air (open air) painting—to the village and its picturesque vistas. In the summer of 1885, Theodore Robinson was among the first of a wave of American artists to go there, and he returned regularly from 1887 to 1892 to paint and enjoy a warm friendship with Monet and his family. This view from the fields above the village, captured in deft brushstrokes and pure color, shows how well Robinson responded to Monet’s innovations. But the strong, interlocking geometry of the old buildings crowded along Giverny’s narrow streets, gives the composition a stability that is distinctively his own. From Bulletin of the Detroit Institute of Arts 89 (2015)

Title Giverny

Artwork Date 1889

Artist Theodore Robinson

Life Dates 1852-1896

Nationality Please note: Definitions for nationality may vary significantly, depending on chronology and world events. Some definitions include: Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation. American

Culture Please note: Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group. Unknown

Medium Oil on canvas

Dimensions Unframed: 17 3/4 × 21 inches (45.1 × 53.3 cm) Framed: 26 × 30 inches (66 × 76.2 cm)

Classification Paintings

Department American Art before 1950

Credit Bequest of James Pearson Duffy

Accession Number This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection. Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings. For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups. 2010.107

Markings

Signed Signed and dated, lower right: Th. Robinson | 1889

Inscriptions ------

Provenance

March 24, 1898, sale, Oil Paintings and Studies by the Late Theodore Robinson, American Art Association, lot 30 (New York, New York, USA) [as Giverny]

purchased by Samuel T. Shaw. January 21, 1926, sale, The Samuel T. Shaw Collection of American Paintings, American Art Association, lot 42 (New York, New York, USA) [as Giverny]

purchased by Rehn Galleries (New York, New York, USA). by 1946, David Roberts (New York, New York, USA). by 1957, Mrs. Lonie H. Jenkins. Knoedler Gallery (New York, New York, USA). April 8, 1957, James P. Duffy

2010-present, bequest to the Detroit Institute of Arts (Detroit, Michigan, USA)

For more information on provenance and its important function in the museum, please visit:

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Exhibition History

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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.

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Published References

Louisiana Purchase Exhibition Company, Illustrations of Selected Works in the Various National Sections of the Department of Art. St. Louis, 1904, p. xlii.

American Art Association. The Samuel T. Shaw Collection of American Paintings. January 21, 1926, lot 42.

Official Catalogue of Exhibitors: Universal Exposition. St. Louis, no. 650.

Baur, John I. H. Theodore Robinson: 1852–1896. Brooklyn, 1946, no. 88.

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