Skip to main contentProvenanceThe artist
Berry-Hill Galleries, Inc., New York, New York
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition HistoryPublished References
Guy Rose
(American, 1867–1925)
Giverny Hillside
c. 1890–91
Oil on panel
Image: 12 7/16 × 16 1/8 in. (31.6 × 41 cm)
Frame: 21 7/8 × 25 3/4 × 2 1/2 in. (55.6 × 65.4 × 6.4 cm)
Frame: 21 7/8 × 25 3/4 × 2 1/2 in. (55.6 × 65.4 × 6.4 cm)
Credit LineTerra Foundation for American Art, Daniel J. Terra Collection
Object number1992.2
SignedOn verso, center: Guy Rose/157 Fbr St Honore 19 (illegible)/Paris
InterpretationIn Guy Rose's quiet landscape, the variegated expanse of a hillside rises on a steep diagonal to a bright but overcast sky, truncating the view of another hill in the left distance. The patchwork of variously planted fields is punctuated by two straggling lines of tree saplings and the turn of a fence. Houses, only their dark roofs visible, are nestled between the two ridges at the far left, but the scene is deserted. Working on a small, portable panel of wood, Rose probably painted Giverny Hillside outdoors before his subject. The cropping of the scene at either side of the composition, as underscored by the cut-off fence at the left, suggests an unedited view, recorded simply as seen rather than consciously composed in the studio from individual elements sketched on-site according to traditional practice. Rose painted rapidly with delicate lines and evident individual strokes of the brush to represent the rough grassy surface of the rising land, a solid presence in the glare of strong but diffused light.
In the early years of the international artists’ colony in the French rural village of Giverny, Rose was one of many artists who drew their subjects from the surrounding landscape of farm fields, gentle hills, and willow-lined streams. Like his fellow artists he experimented with progressive techniques: painting directly, without the guidance of drawn outlines, and working on-site rather than in the studio to create seemingly unedited records of the actual landscape. Rose did not begin to embrace the most recognizable feature of the mode known as impressionism—the application of paint in unblended strokes of brilliant color to capture the scintillating effect of bright light—until about 1900. A decade earlier, nonetheless, works such as Giverny Hillside were recognized by one reviewer as painted in the spirit, if not precisely according to the technique, of Claude Monet (1840–1926), one of the leading artists associated with impressionism and Giverny’s most prominent resident.
In Giverny Hillside Rose selected a view with few features to provide context or perspective: the broad expanse of ground almost can be imagined simply as an abstract, flat green surface on the panel. Probably painted during his first two seasons in Giverny, it demonstrates an advanced aesthetic in its dramatic simplicity and apparent lack of conscious composing. Its freedom from the narrative or sentiment with which Rose and other American artists previously had painted French rural subjects is evident in comparison with Charles Harold Davis’s Champ de blé (TF 1992.12), a similar view of rising farmland in which an abandoned wheelbarrow signals the routine labor of a recent harvest. Asymmetrical and starkly planar, Rose’s composition suggests the influence of Japanese aesthetics, which through the medium of ukiyo-e woodblock prints inspired numerous European and American artists at the turn of the twentieth century.
In the early years of the international artists’ colony in the French rural village of Giverny, Rose was one of many artists who drew their subjects from the surrounding landscape of farm fields, gentle hills, and willow-lined streams. Like his fellow artists he experimented with progressive techniques: painting directly, without the guidance of drawn outlines, and working on-site rather than in the studio to create seemingly unedited records of the actual landscape. Rose did not begin to embrace the most recognizable feature of the mode known as impressionism—the application of paint in unblended strokes of brilliant color to capture the scintillating effect of bright light—until about 1900. A decade earlier, nonetheless, works such as Giverny Hillside were recognized by one reviewer as painted in the spirit, if not precisely according to the technique, of Claude Monet (1840–1926), one of the leading artists associated with impressionism and Giverny’s most prominent resident.
In Giverny Hillside Rose selected a view with few features to provide context or perspective: the broad expanse of ground almost can be imagined simply as an abstract, flat green surface on the panel. Probably painted during his first two seasons in Giverny, it demonstrates an advanced aesthetic in its dramatic simplicity and apparent lack of conscious composing. Its freedom from the narrative or sentiment with which Rose and other American artists previously had painted French rural subjects is evident in comparison with Charles Harold Davis’s Champ de blé (TF 1992.12), a similar view of rising farmland in which an abandoned wheelbarrow signals the routine labor of a recent harvest. Asymmetrical and starkly planar, Rose’s composition suggests the influence of Japanese aesthetics, which through the medium of ukiyo-e woodblock prints inspired numerous European and American artists at the turn of the twentieth century.
Berry-Hill Galleries, Inc., New York, New York
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition History
Impressions de toujours: les peintres américains en France, 1865–1915 (Lasting Impressions: American Painters in France, 1865–1915), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, June 1–November 1, 1992; April 1–October 31, 1993; April 1–October 30, 1994; April 1–October 31, 1995. [exh. cat.]
Giverny: une impression américaine (Giverny, An American Impression), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 1, 1998.
Ville et campagne: les artistes américains, 1870–1920 (The City and the Country: American Perspectives, 1870–1920), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–July 15, 1999. [exh. cat.]
Giverny au fil des saisons (Giverny in All Seasons), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 30, 2001.
D'une colonie à une collection: le Musée d'Art Américain Giverny fête ses dix ans (From a Colony to a Collection: Celebrating the Tenth Anniversary of the Musée d'Art Américain Giverny), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 30–June 16, 2002 (on exhibit extended run: March 30–November 30, 2002).
En Plein Air: American Painters in Giverny, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, March 8–May 25, 2003.
Le Passage à Paris: les artistes américains en France, 1860–1930 (Passing through Paris: American Artists in France, 1860–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, April 1–October 31, 2005. [exh. brochure]
Le Passage à Paris: les artistes américains en France, 1860–1930 (Passing through Paris: American Artists in France, 1860–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, April 1–October 29, 2006. [exh. brochure]
Impressionist Giverny: A Colony of Artists, 1885–1915, Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, April 1–July 1, 2007; San Diego Museum of Art, San Diego, CA, July 21–October 14, 2007. [exh. cat.]
Impressionist Giverny: The Americans, 1885-1915, Selections from the Terra Foundation for American Art, Terra Foundation for American Art, Chicago, Illinois (organizer). Venues: Florence Griswold Museum of Art, Old Lyme, Connecticut, May 3–July 27, 2008; Albany Institute of History & Art, Albany, New York, August 23, 2008–January 4, 2009.
Monet and the Artists of Giverny: The Beginning of American Impressionism, The Bunkamura Museum of Art, Tokyo, Japan with the Terra Foundation for American Art, Chicago, Illinois (organizers). Venues: Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, October 9–November 28, 2010; The Bunkamura Museum of Art, Tokyo, Japan, December 7, 2010–February 17, 2011; The Okayama Prefectural Museum of Art, Okayama, Japan, February 25–April 10, 2011. [exh. cat.]
Gallery Installation, Musée de impressionnismes Giverny, France, July 2012–November 2012; March 2013–November 2013; March 2014–November 2014; March 2015–November 2015.
The Studio of Nature, 1860-1910: The Terra Collection in Context (L’atelier de la Nature, 1860-1910. Invitation à la Terra Collection). Terra Foundation for American Art with the Musée des Impressionnismes Giverny (organizers). Venue: Musée des Impressionnismes Giverny, France, September 12, 2020–January 3, 2021. [exh. cat. in French]
Giverny: une impression américaine (Giverny, An American Impression), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 1, 1998.
Ville et campagne: les artistes américains, 1870–1920 (The City and the Country: American Perspectives, 1870–1920), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–July 15, 1999. [exh. cat.]
Giverny au fil des saisons (Giverny in All Seasons), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 30, 2001.
D'une colonie à une collection: le Musée d'Art Américain Giverny fête ses dix ans (From a Colony to a Collection: Celebrating the Tenth Anniversary of the Musée d'Art Américain Giverny), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 30–June 16, 2002 (on exhibit extended run: March 30–November 30, 2002).
En Plein Air: American Painters in Giverny, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, March 8–May 25, 2003.
Le Passage à Paris: les artistes américains en France, 1860–1930 (Passing through Paris: American Artists in France, 1860–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, April 1–October 31, 2005. [exh. brochure]
Le Passage à Paris: les artistes américains en France, 1860–1930 (Passing through Paris: American Artists in France, 1860–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, April 1–October 29, 2006. [exh. brochure]
Impressionist Giverny: A Colony of Artists, 1885–1915, Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, April 1–July 1, 2007; San Diego Museum of Art, San Diego, CA, July 21–October 14, 2007. [exh. cat.]
Impressionist Giverny: The Americans, 1885-1915, Selections from the Terra Foundation for American Art, Terra Foundation for American Art, Chicago, Illinois (organizer). Venues: Florence Griswold Museum of Art, Old Lyme, Connecticut, May 3–July 27, 2008; Albany Institute of History & Art, Albany, New York, August 23, 2008–January 4, 2009.
Monet and the Artists of Giverny: The Beginning of American Impressionism, The Bunkamura Museum of Art, Tokyo, Japan with the Terra Foundation for American Art, Chicago, Illinois (organizers). Venues: Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, October 9–November 28, 2010; The Bunkamura Museum of Art, Tokyo, Japan, December 7, 2010–February 17, 2011; The Okayama Prefectural Museum of Art, Okayama, Japan, February 25–April 10, 2011. [exh. cat.]
Gallery Installation, Musée de impressionnismes Giverny, France, July 2012–November 2012; March 2013–November 2013; March 2014–November 2014; March 2015–November 2015.
The Studio of Nature, 1860-1910: The Terra Collection in Context (L’atelier de la Nature, 1860-1910. Invitation à la Terra Collection). Terra Foundation for American Art with the Musée des Impressionnismes Giverny (organizers). Venue: Musée des Impressionnismes Giverny, France, September 12, 2020–January 3, 2021. [exh. cat. in French]
Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 180; pl. 30, p. 181 (color).
Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 180; pl. 30, p. 181 (color).
Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26, (checklist); ill. p. 49 (color).
Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26, (checklist); ill. p. 49 (color).
Joyes, Claire. The Taste of Giverny: At Home with Monet and the American Impressionists. Paris, France: Flammarion, 2000. Ill. p. 8 (color).
Bourguignon, Katherine M. et al. Impressionist Giverny: A Colony of Artists, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text pp. 61, 211 (checklist); ill. pp. 74 (color detail), 92 (color).
Bourguignon, Katherine M. "Impressionist Giverny: American Painters in France" American Art Review 20.3 (June 2008): 100-113. Ill. p.110 (color).
Bourguignon, Katherine M., Shunsuke Kijima and Sanjiro Minamikawa. Monet and the Artists of Giverny: The Beginning of American Impressionism. (exh. cat. Kitakyushu Municipal Museum of Art, The Bunkamura Museum of Art, Tokyo, and The Okayama Prefectural Museum of Art). Fukuoka, Japan: The Nishinippon Shimbun, 2010. Text cat. no. 27, pp. 77 (in Japanese), 183 (in English); ill. p. 77 (color).
Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 147; ill. p. 147 (color).
Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Text p. 28; Pl. 65, p. 139 (color).
Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 180; pl. 30, p. 181 (color).
Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26, (checklist); ill. p. 49 (color).
Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26, (checklist); ill. p. 49 (color).
Joyes, Claire. The Taste of Giverny: At Home with Monet and the American Impressionists. Paris, France: Flammarion, 2000. Ill. p. 8 (color).
Bourguignon, Katherine M. et al. Impressionist Giverny: A Colony of Artists, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text pp. 61, 211 (checklist); ill. pp. 74 (color detail), 92 (color).
Bourguignon, Katherine M. "Impressionist Giverny: American Painters in France" American Art Review 20.3 (June 2008): 100-113. Ill. p.110 (color).
Bourguignon, Katherine M., Shunsuke Kijima and Sanjiro Minamikawa. Monet and the Artists of Giverny: The Beginning of American Impressionism. (exh. cat. Kitakyushu Municipal Museum of Art, The Bunkamura Museum of Art, Tokyo, and The Okayama Prefectural Museum of Art). Fukuoka, Japan: The Nishinippon Shimbun, 2010. Text cat. no. 27, pp. 77 (in Japanese), 183 (in English); ill. p. 77 (color).
Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 147; ill. p. 147 (color).
Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Text p. 28; Pl. 65, p. 139 (color).
There are no additional artworks by this artist in the collection.