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Artists Affiliated with Giverny

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Between the late 1880s and World War I, the Norman village of Giverny, France, was the site of a popular international artists' colony. A notable strength of the Terra's collection is art by Americans who were affiliated with Giverny.

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Metadata Embedded, 2019
Karl Anderson
Date: 1910
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.175
Text Entries: Giverny: visited 1909, summered 1910 The Hôtel Baudy was the epicenter of artistic life in Giverny, providing lodging and services to accommodate an everchanging colony population (over 700 names are listed in the hotel's registry over a 12 year period). Facilities soon included recreational ones as represented in Karl Anderson's sun-drenched canvas. At the hotel, the newly-installed tennis courts offered a popular source of distraction and entertainment for artists-replaced by ice skating and sledding during the winter months-and a perfect subject for practicing art en plein air.
Metadata embedded, 2017
John Leslie Breck
Date: c. 1887–91
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1988.22
Text Entries: A path invites us to stroll through a lush garden, where poppies, roses and sunflowers mingle with other plants. Boston painter John Leslie Breck was finishing his art studies in Paris when he discovered Giverny in 1887. Captivated by the village, he settled there and met Claude Monet, who invited him to paint in his garden. In Monet's company, Breck discovered impressionism and adopted its methods. A budding romance between Breck and Blanche Hoshédé, Monet's granddaughter, put an end to the friendship between these two men, but did not affect Breck's admiration for the French master. In this picture, Breck painted flower blossoms with clusters of small brush strokes. All of the vegetation, in fact, seems to be composed of these small dabs of color, except for the plants in the foreground, which have clearly drawn outlines. The light that floods the garden makes the colors interact, creating an atmosphere infused with colored light. Thus the white flowers are tinted with green where they appear to touch the grass, the garden path turns blue speckled with green in the shade and the red of the poppies intensifies the greens. In the middle of this vision of abundance, the path leading to the back of the garden creates a sense of depth, until it reaches a row of trees in the background acting as a screen. By choosing to paint this scene while sitting down, Breck accentuates the verticality of the plants and gives a monumental look to this small-scale work. In this way, he brings the garden closer to us.
Metadata Embedded, 2019
John Leslie Breck
Date: 1888
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.2
Text Entries: Corbin, Kathryn. "John Leslie Breck, American Impressionist." <i>The Magazine Antiques</i> 134 (November 1988): 1142–49. Pl. V (color). <br><br>Gerdts, William H. et al. <i>Lasting Impressions: American Painters in France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 146–47; pl. 14, p. 150 (color). <br><br>Gerdts, William H. et al. <i>Impressions de toujours: les peintres américains en France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 146–47; pl. 14, p. 150 (color).<br><br>Gerdts, William H. <i>Monet's Giverny: An Impressionist Colony</i>. New York: Abbeville Press, 1993. Pl. 180, p. 244 (black & white).<br><br>Gomes, Rosalie. <i>Impressions of Giverny: A Painter's Paradise 1883–1914</i>. San Francisco, California: Pomegranate Artbooks, 1995. Text pp. 31, 112; pl. 19, p. 34 (color).<br><br>Finlay, Nancy, Bronwyn Griffith, and Nicholas Kilmer. <i>Thomas Buford Meteyard. Un Américain chez les Nabis</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 11 (French), 63 (English); fig. 2, p. 11 (color).<br><br>Houston, Joe et al.  <i>In Monet's Garden: Artists and the Lure of Giverny</i>. (exh. cat., Columbus Museum of Art in association with Musée Marmottan Monet). London, England: Scala Publishers, 2007. Text pp.56, 158 (checklist), ill. pl. 17, p. 71 (color)<br><br>Hill, May Brawley. <i>The American Impressionists in the Garden</i>. (ex. cat., Cheekwood Botanical Garden & Museum of Art, Nashville, Tenessee). Nashville: Cheekwood Botanical Garden & Museum of Art and Vanderbilt University Press, 2010. Text pp. 5, 119 (checklist); ill. pl. 2, pp. 32–33 (color).<br><br>Bourguignon, Katherine and Valerie Reis. <i>The Studio of Nature, 1860-1910: The Terra Collection in Context</i>. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020.  Pl. 59, p. 133 (color).<br><br>
Metadata embedded, 2017
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.1
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata embedded, 2017
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.2
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Studies of an Autumn Day
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.3
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata embedded, 2017
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.4
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata embedded, 2017
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.5
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata Embedded, 2019
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.6
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata Embedded, 2019
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.7
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata Embedded, 2019
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.8
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.
Metadata Embedded, 2019
John Leslie Breck
Date: 1891
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.4.9
Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.