Executed in 1890 and signed and dated by the artist in 1891, Meules was acquired in the early 1890s by Mr. and Mrs. Potter Palmer directly from the artist’s dealer, Paul Durand-Ruel. Bertha Palmer, a celebrated Chicago socialite and the wife of well-known businessman Potter Palmer, amassed an unrivaled collection of Impressionist works, many of which are now the bedrock of the Art Institute of Chicago’s renowned Impressionist collection. Palmer acquired a large portion of the collection between 1891 and 1892 while traveling abroad to help organize the World’s Columbian Exposition, where she served as President of the Board of Lady Managers and advocated for women’s equality. The Palmers were introduced to Durand-Ruel in 1889 through curator Sarah Tyson Hallowell, who later introduced them to the artist Mary Cassatt. It is estimated that Mrs. Palmer owned nearly 90 works by Monet over the course of her life, and built a sprawling picture gallery, complete with red velvet walls, in her home to display her collection of Romantic, Barbizon and Impressionist works. Palmer owned six of Monet’s grainstack canvases, all purchased following the artist’s exhibition at Galerie Durand-Ruel in Paris in 1891. While the Palmers sold many of the pictures shortly after their acquisition, the present work remained in Mrs. Palmer’s personal collection until her death in May 1918 and with her heirs for decades after.

Monet began working on the group of paintings that are almost universally known as Haystacks as early as 1884, depicting stacks that were subsumed into a wider environment. However, the major series of majestic canvases depicting grainstacks, with a focus on the evanescent effects of light, were completed between 1889 and 1891. The stacks upon which Monet lavished so much of his energy and vision during those years were actually the stores for wheat and grain, and not for hay as is the popular misconception.

The stacks in the present composition are distinguished from other depictions in the series by the diagonal swaths of light between the forms. Voluminous, full structures, the stacks suggest the great fertility and bountifulness of the Normandy landscape, their surfaces gilded and burnished with the light of the sun, imparting a sense of well-being, vitality and the harmony of nature throughout the canvas. In choosing these powerful grainstacks as his subject, Monet continued a long tradition of depicting the French countryside and its abundant riches as seen in the paintings of Jean-François Millet and the Barbizon school. However, Monet updates this tradition to striking effect. His grainstacks series contains virtually no anecdotal detail: no laborers, no figures walking through the fields or birds flying in the sky. The artist pares down his vision to focus solely on the grainstacks themselves, on the play of light on them, on the sky and the horizon. In its warmth and generosity of vision, in its elevation of the humble grainstack to an emblem of Impressionism, and in its emphasis on form and light, Meules is an undisputed masterpiece of Monet’s oeuvre and one of art history’s most evocative images.