Technical Report
Technical Summary
Monet’s Beach at Sainte-Adresse was painted on a pre-primed linen canvas close in size to a no. 40 landscape () standard-format canvas. There are two ground layers: the lower layer is a light, warm gray, while the upper layer is a warm pinkish-beige. The pinkish-beige tone remains visible at the lower edges and corners of the painting and in small areas throughout the composition where it is exposed through breaks in the brushwork. In the beach, for example, which was worked in a variety of off-white and gray tones, the perceived hue of the upper ground layer is influenced by the color of the adjacent brushstrokes. In contrast, the paint of the sky and water is made up of more continuous layers that conceal the ground for the most part.
The beach, water, and sky, along with the central group of boats on the shore and the distant town, were built up simultaneously, with the figure groups added later. The dark-sailed fishing boats were included in the composition early on. Technical examination has revealed that at one point Monet included four or five figures and a group of sailboats and smaller crafts at the right side of the composition. The artist probably painted out these boats and figures before adding the group of fishermen and boats on the left. He painted these latter elements on top of the mostly finished beach, indicating that they were part of a later painting stage. Other more minor alterations can be seen in the size and position of the three central boats on the beach, the buildings, and the edges of the fishermen.
The presence of these compositional changes, combined with the fact that much of the painting consists of wet-over-dry paint application, suggests that the work was executed in several campaigns. The artist employed a variety of brushwork, including more sweeping strokes in the water and the underpainting of the sky; short, individual strokes of opaque color to build up the beach; and localized passages of thicker, more textural wet-in-wet paint application. Final touches included light strokes, applied with a relatively dry brush, that skip across the high points of the underlying paint. Areas of artist’s “retouching” in the water, along the horizon at the right, and around the fishermen were among the final elements to be added to the painting, and they seem to have been used to cover traces of revisions made in those areas.
Multilayer Interactive Image Viewer
The Multilayer Interactive Image Viewer is designed to facilitate the viewer’s exploration and comparison of the technical images (fig. 13.12).
Signature
Signature/stamp:
Signed and dated at lower right, painted: Claude Monet (dark brown) and 67 (reddish purple) (fig. 13.13 and fig. 13.14). The signature and date were applied when the underlying paint was dry. The different colors of paint used for these two elements may indicate that they were added at different times.
Structure and Technique
Support
Canvas:
Flax (commonly known as linen).
Standard format:
The original foldover dimensions are approximately 75 × 101 cm. The closest standard canvas size is no. 40 landscape (paysage), which measures 73 × 100 cm.
Weave:
Plain weave. Average thread count (standard deviation): 19.7V (1.3) × 22.9H (0.7) thr/cm; the horizontal threads were determined to correspond to the warp and the vertical threads to the weft. No weave matches were found with other Monet paintings analyzed for this project.
Canvas characteristics:
There is mild cusping along the left and right edges, with stronger cusping along the bottom and especially the top edge. The top edge corresponds to the unprimed outer edge of the larger piece of primed fabric from which this canvas was cut (see Ground Application).
Stretching:
Current stretching: When the painting was lined in 1973, the original dimensions were slightly increased, leaving a border of unpainted ground visible around the edges (see Conservation History). The canvas is currently attached with copper tacks inserted mainly through the lining canvas, outside of the original tacking edges.
Original stretching: There are two sets of old tack holes. One set, probably the original, has spacing of approximately 5–7 cm and corresponds to the cusping in the canvas. The second set probably relates to the stretching of the canvas carried out after the earlier glue-paste lining (see Conservation History).
Stretcher/strainer:
Current stretcher: 4-membered ICA redwood spring stretcher.
Original stretcher: The 1973 treatment report notes that the previous stretcher was a “6-piece stretcher with crosspiece” (see Conservation History). Since the painting was lined with glue-paste at an unknown date prior to 1957, it is uncertain whether the stretcher mentioned in the 1973 report was the original or dated to the glue-paste lining. But vertical stretcher-bar cracks near the center of the painting suggest that the original stretcher was five-membered, with a vertical crossbar only. The original stretcher depth is unknown.
Manufacturer’s/dealer’s marks:
None observed in current examination or documented in previous examinations.
Preparatory Layers
Sizing:
Not determined, probably glue.
Ground application/texture:
There are two distinct preparatory layers (fig. 13.15). Both extend to the edges of the left, bottom, and right tacking margins but stop short of the top edge, where there is approximately 1 cm of unprimed canvas (fig. 13.16). This suggests that the canvas was cut from a larger piece of pre-primed fabric on the left, bottom, and right edges; the top edge probably corresponds to the edge of the larger canvas that was attached to the priming frame. The ground appears to be relatively thick, filling up the interstices of the canvas weave to some extent.
Color:
Observing the painting microscopically, only the upper ground layer is visible. It has a warm pinkish-beige tone, which can be seen in small areas throughout the painting at breaks in the brushwork (fig. 13.17). Cross-section analysis shows another layer below the pinkish-beige one that is light gray in color (fig. 13.18).
Materials/composition:
Both ground layers contain the same components: lead white, iron-oxide red, bone or ivory black, silicate minerals, barium sulfate, quartz, and a calcium-based white; however, the relative proportions of these components vary between the two layers, which directly influences their color. The upper pinkish-beige layer contains a higher proportion of iron-oxide red, silicate minerals, and barium sulfate, while the lower gray layer has a slightly higher proportion of bone or ivory black.
Compositional Planning/Underdrawing/Painted Sketch
Extent/character:
No underdrawing was detected with infrared reflectography (IRR); however, some black particulate material was observed microscopically in a few localized areas. To the left of the heads of the left and middle fishermen, there are a few concentrated areas of black particles deposited on the high points of the primed canvas between the ground and paint layers (fig. 13.19 and fig. 13.20). At the extreme left edge, directly above the boats, are three short lines at varying angles (fig. 13.21), where the black particles appear to be on top of or incorporated into the paint layer (fig. 13.22).
Medium/technique:
Charcoal.
Revisions:
Possible underdrawing in the area of the fishermen’s heads could have formed part of an earlier outline of the beach, which appears to have been extended further into the water in this area during painting (see Application/technique and artist's revision). It is unclear what the marks at the left edge are related to.
Paint Layer
Application/technique and artist’s revision:
The painting was worked up in several stages, with some significant changes made to the composition, particularly on the right side, where the artist originally included a number of figures and boats. IRR reveals that an earlier version of the composition included four, or possibly five, figures on the shoreline near the right edge. The infrared reflectogram clearly shows a trio of standing figures near the lower-right corner (fig. 13.23): a male figure on the left and a couple on the right. These figures appear to be facing the water and were painted on a scale similar to or slightly larger than the three fishermen in the foreground of the finished painting. Some of the brushwork related to these figures is visible in the X-radiograph (fig. 13.24). With the use of transmitted infrared (IR), a fourth figure to the left of the standing group comes to light (fig. 13.25). This figure, seemingly a male, appears to be sitting on the beach, and to his left, a similar but more ambiguous form could indicate a seated companion. A few microscopic traces of black paint were observed at the shoreline in the area of the seated male. The black paint appears to lie on top of the greenish-blue paint from the water and underneath the gray strokes of the beach (fig. 13.26). It is possible that the traces of black paint relate to the seated figure and were simply not covered by either the water that was painted over the figures or the later strokes added to the shoreline (fig. 13.27).
Above the painted-out figures, further out in the water, several forms indicate that the artist experimented with a variety of boats, including some large sailboats and smaller marine craft. In the X-radiograph, two large sails are visible near the horizon (fig. 13.28). Within the area of these large sails, three smaller sails, which seem to have been associated with smaller sailboats, are also visible. All of these forms probably contain a significant amount of lead-white paint, based on their radio-opacity, especially when compared with the dark-sailed fishing boats in the final composition. At the extreme right edge, there appears to be another large sailboat. This is more difficult to discern in the X-radiograph, but it is evident in the infrared reflectogram (fig. 13.29). The artist also seems to have initially included some smaller boats without sails near the horizon and one slightly closer to the shore, which appears to carry two passengers. Moving left along the horizon, two more small sails are visible just to the right of the fishing boat from the final painting. On the left side of the fishing boat, among the smokestacks on the distant shore, it appears that the artist originally included a triangular flag (fig. 13.30) and, subsequently, more billowing smoke from the chimneys (fig. 13.31), which was then cursorily obscured with a few strokes of grayish paint (fig. 13.32). Passages of more solid and slightly “mismatched” paint along the horizon seem to represent areas where the artist worked to cover over the earlier compositional elements. The small vessels were applied wet-on-wet over the blue-gray paint along the horizon (fig. 13.33).
Other more minor changes include the position and size of the three central boats on the shore. In the X-radiograph, the front boat appears smaller and is positioned at more of an angle, while the front end of the middle boat was originally slightly shorter (fig. 13.34). The farthest boat appears to have been a later addition, since the beach underneath it is more worked up than in the area of the other two boats. Some modifications are also visible in the buildings on the left side of the composition (fig. 13.35). For example, the large building at the top of the hill was originally in a lower position. To the immediate right, the two brownish-gray buildings, as well as the large house to the right of the spire, appear to have been added at a later stage, as they were painted over the sky, in contrast to the other buildings, which were incorporated into the composition from an early stage, with the sky built up around them. A slight adjustment may also have been made to the spire. The boats and the three fishermen on the left side of the work were all painted on top of the beach, indicating that they were later additions to the painting (fig. 13.36). Brushstrokes related to the beach continue underneath the figures (fig. 13.37). Changes to the figures seem to have involved either minor shifts in position or modifications in size. This is particularly evident around the blue jacket of the left fisherman and the center figure’s left shoulder (fig. 13.38). Around the blue jacket, it is clear that the artist wiped away some of the still-wet blue paint, leaving traces in the recesses of the underlying paint of the beach (fig. 13.39). It seems that the off-white paint of the beach was still soft when the blue paint was wiped away, as the peaks of the brushmarks appear smooth and flattened in the wiped areas. The artist then applied a few strokes of grayish paint, presumably to cover these paint residues (fig. 13.40 and fig. 13.41); however, this was not done precisely, and the paint residues remain clearly visible in places. The shoreline behind the fishermen seems to have been adjusted slightly, the pale gray paint of the beach having been extended further into the water (fig. 13.42). The erosion-prevention structures, placed at intervals perpendicular to the distant shore, were originally longer, perhaps suggesting a change in the water level (fig. 13.43).
Most areas of the painting seem to consist of two or three pigments, usually mixed with lead white. Darker brown and gray areas tend to have more complex pigment mixtures that incorporate earth pigments and black. The warm pinkish-beige tone of the upper ground layer is evident at the corners and edges of the painting, which are less finished than the rest of the composition (fig. 13.44). It also remains visible in small areas through open brushwork—for example, in the distant beach (fig. 13.45). The tone of the exposed ground appears to shift slightly depending on the colors applied adjacent to it. In general, the paint was built up in opaque strokes, with low-relief brushmarks visible across the surface (fig. 13.46). The painting includes both wet-over-dry (fig. 13.47) and localized areas of wet-in-wet paint application (fig. 13.48), but with little actual blending of colors on the canvas. There are some areas of thicker, more textural paint application—for example, in the white strokes of the seated couple (fig. 13.49). The middle fisherman was executed with thick, fluid paint, the strokes of which melded together (fig. 13.50). Several final strokes were applied with a light touch that skipped across the surface of the underlying paint texture. This can be seen in the white and green strokes of the water on the right side, where the artist may have applied these final touches as a way of breaking up the solidity of the paint in places where earlier compositional features were covered (fig. 13.51).
Painting tools:
Brushes, including 1–2 cm width and smaller for finer details.
Palette:
Analysis indicates the presence of the following pigments: lead white, bone or ivory black, iron-oxide red, iron-oxide yellow, chrome yellow, cobalt blue, viridian, emerald green, vermilion, and red lake.
Binding media:
Oil (estimated).
Surface Finish
Varnish layer/media:
The painting has an even, relatively matte synthetic varnish, which was applied in 1973, after removal of a natural resin varnish (see Conservation History). Residues of yellowed natural resin (estimated) are visible in the recesses of the paint texture (particularly under ultraviolet light). It is uncertain when the natural resin varnish was applied.
Frame
Design/origin:
Current frame (as of March 2000): 1999 reproduction of French, nineteenth-century, Louis XVI Revival frame, with composition pearl sight molding, egg and dart, and pin and ribbon twist back molding. Constructed by Arnold Wiggins and Sons, 1999 (fig. 13.52).
Previous frame (installed after November 1, 1933): A 1960–70 American reproduction of a French Régence frame, gilded with a gray decape finish (fig. 13.53).
Previous frame (installed by April 6, 1932): Louis XIV Revival frame ([figure:osci_technical_analysis_fig_268_52] and fig. 13.54).
Conservation History
The earliest examination report in the conservation file, which dates to 1957, indicates that the painting was already lined at that time. This is probably the glue lining referred to in the 1973 report. The painting is described as having an extremely discolored varnish layer and heavy surface grime. An unsigned note attached to this report indicates that the painting was cleaned in 1957.
In 1973 discolored surface films and overpaint around the edges of the painting and over the wide-aperture drying cracks in the foreground boats and left-hand figure were removed. The old glue lining was removed, and the canvas was lined with wax/resin. The painting was restretched on an ICA redwood spring stretcher. An isolating varnish of polyvinyl acetate AYAA was applied. Inpainting was carried out, and the final varnish, consisting of a layer of methacrylate resin L-46 and a layer of polyvinyl acetate AYAA, was applied.
Condition Summary
The work is in very good condition overall. The canvas is lined with wax/resin. It is flat and stretched taut on the stretcher. The original tacking margins are present, but the edges have deteriorated and may have been trimmed in places; there are losses in the fabric at the bottom corners. The paint layer is in excellent condition, with only a few tiny paint losses. There is some slight flattening of thicker areas of paint, probably resulting from the lining. Localized abrasion and ground and paint loss are present around all of the original foldovers. There is a general network of light cracks over the paint surface. Stretcher-bar cracks are most visible in the area of the original vertical crossbar and the right stretcher bar. There are localized areas of drying cracks in some of the foreground figures and boats. There are a few small spots of retouching in the sky related to disruptions in the paint, which appear to be impressions made when the paint was still soft. Retouching has been applied to almost the entire perimeter of the painting, over losses at the original foldovers. Residues of discolored natural resin varnish are visible throughout the paint surface. There are numerous localized areas of wax residue from the lining adhesive scattered throughout the surface of the painting. Fibers from the facing paper and/or cotton swabs are visible microscopically over the surface, as are several tiny accretions. The work has an even, relatively matte synthetic varnish layer.
Kimberley Muir
Exhibition History
Possibly London, Durand-Ruel, Eighth Exhibition of the Society of French Artists, spring 1874, cat. 142.
Paris, 11, rue Le Peletier, 2e Exposition de Peinture [Second Impressionist Exhibition], Apr. 1876, cat. 151.
Paris, Galerie Georges Petit, Claude Monet—A. Rodin, June 21–Sept. 21, 1889, cat. 5.
Chicago, Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 19 (ill.).
Chicago, Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 292 (fig. 13.55).
St. Louis, City Art Museum of St. Louis, Paintings by French Impressionists (1860–1880), Apr. 17–May 16, 1934, no cat.
Chicago, Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–Oct. 31, 1934, cat. 210.
Toledo, Ohio, Toledo Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 8 (paintings).
Kansas City, Missouri, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, French Impressionist Landscape Painting, Nov. 29–Dec. 30, 1936, cat. 23 (cover ill.).
Chicago, Art Institute of Chicago, Masterpiece of the Month, June 30–July 31, 1945, no cat.
Zurich, Kunsthaus Zürich, Claude Monet: 1840–1926, May 10–June 15, 1952, cat. 11 (ill.); Paris, Galerie Beaux-Arts, June 19–July 17, 1952, cat. 8 (ill.); The Hague, Gemeentemuseum, July 24–Sept. 22, 1952, cat. 9 (ill.).
Chicago, Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat.
St. Louis, City Art Museum of St. Louis, Claude Monet: A Loan Exhibition, Sept. 25–Oct. 22, 1957, cat. 4 (ill.); Minneapolis, Minneapolis Institute of Arts, Nov. 1–Dec. 1, 1957.
San Francisco, California Palace of the Legion of Honor, Painters by the Sea, July 1–30, 1961, no cat.; Santa Barbara, California, Santa Barbara Museum of Art, Aug. 8–Sept. 3, 1961.
Chicago, Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 10 (ill.).
Northampton, Massachusetts, Smith College Museum of Art, Jongkind and the Pre-Impressionists: Painters of the Ecole Saint-Siméon, Oct. 15–Dec. 5, 1976, cat. 90 (ill.); Williamstown, Massachusetts, Sterling and Francine Clark Art Institute, Dec. 17, 1976–Feb. 13, 1977.
Paris, Galeries Nationales du Grand Palais, Hommage à Claude Monet (1840–1926), Feb. 8–May 5, 1980, cat. 16 bis (ill.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 9 (ill.).
Los Angeles, Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 6 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, Feb. 4–Apr. 22, 1985 [as L’impressionnisme et le paysage français].
Washington, D.C., National Gallery of Art, The New Painting: Impressionism 1874–1886, Jan. 17–Apr. 6, 1986, cat. 31 (ill.); Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.
Leningrad [St. Petersburg], Hermitage, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muiei︡a Metropoliten v Ni︡u-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great French Paintings From the XIX Century to the Beginning of the XXth Century from the Metropolitan Museum of Art in New York and the Art Institute of Chicago], Mar. 15–May 16, 1988, cat. 27 (ill.); Moscow, Pushkin Museum of Fine Arts, May 30–July 30, 1988.
Paris, Galeries Nationales du Grand Palais, Impressionnisme: Les Origines, 1859–1869, Apr. 19–Aug. 8, 1994, cat. 136 (ill.); New York, Metropolitan Museum of Art, Sept. 27, 1994–Jan. 8, 1995 [as Origins of Impressionism].
Chicago, Art Institute of Chicago, Claude Monet 1840–1926, July 22–Nov. 26, 1995, cat. 12 (ill.).
Chicago, Art Institute of Chicago, Manet and the Sea, Oct. 20, 2003–Jan. 19, 2004, cat. 97 (ill.); Philadelphia, Philadelphia Museum of Art, Feb. 15–May 30, 2004; Amsterdam, Van Gogh Museum, June 18–Sept. 26, 2004.
San Francisco, Fine Arts Museums of San Francisco, Monet in Normandy, June 17–Sept. 17, 2006, cat. 5 (ill.); Raleigh, North Carolina Museum of Art, Oct. 15, 2006–Jan. 14, 2007; Cleveland, Ohio, Cleveland Museum of Art, Feb. 18–May 20, 2007 (Cleveland only).
London, Royal Academy of Arts, Impressionists by the Sea, July 7–Sept. 30, 2007, cat. 32 (ill.); Washington, D.C., Phillips Collection, Oct. 20, 2007–Jan. 13, 2008; Hartford, Connecticut, Wadsworth Atheneum Museum of Art, Feb. 9–May 11, 2008.
Paris, Galeries Nationales, Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–Jan. 24, 2011, cat. 16 (ill.).
Selected References
Possibly “Notice of the Exhibition of the Society of French Artists, New Bond Street,” Times, Apr. 27, 1874. Reprinted in Kate Flint, ed., Impressionists in England: The Critical Reception (Routledge and Kegan Paul, 1984), p. 35.
Possibly Durand-Ruel, London, Eighth Exhibition of the Society of French Artists, exh. cat. (Durand-Ruel, 1874), p. 11, cat. 142.
Marius Chaumelin, “Actualités: L’Exposition des intransigeants,” La Gazette des étrangers (Apr. 8, 1876), pp. 1–2. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume 1. Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 67.
Emile Blémont, “Les Impressionnistes,” Le Rappel (Apr. 9, 1876), pp. 2–3. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume 1. Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 63.
Arthur Baignières, “Exposition de peinture par un groupe d’artistes, rue Le Peletier, II,” L’Echo universel (Apr. 13, 1876), p. 3. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume 1. Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 55.
Pierre Dax, “Chronique,” L’Artiste (May 1, 1876), p. 348. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume 1. Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 70.
Catalogue de la 2e Exposition de Peinture, exh. cat. (Imprimerie Alcan-Lévy, 1876), p. 15, cat. 151.
Galerie Georges Petit, Claude Monet—A. Rodin, exh. cat. (Imprimerie de l’art, 1889), p. 27, cat. 5. Reprinted in Theodore Reff, ed., Miscellaneous Group Exhibitions, Modern Art in Paris 34 (Garland Publishing, 1981), n.pag.
Gustave Geffroy, “Claude Monet,” L’Art et les artistes 2, 11 (Nov. 1920), p. 64 (ill.).
Gustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (Éditions G. Crès et Cie, 1922), pp. opp. 40 (ill.), 59, 62, 71, 118, 262.
Camille Mauclair, Claude Monet (F. Rieder et Cie, 1924), p. 36, pl. 6.
Xenia Lathom, Claude Monet (Philip Allan, 1931), p. 47, pl. 6.
Eleanor Jewett, “Noted Private Art Collection on Exhibition,” Chicago Daily Tribune, Apr. 6, 1932, p. 19 (ill.).
“Masterpieces of the French Impressionists from the Collection of Mrs. L. L. Coburn Being Exhibited for the First Time at the Art Institute of Chicago,” Fine Arts 19, 1 (June 1932), p. 22 (ill.).
Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), pp. 66, 67 (ill.), 68.
“Annie S. Coburn Estate Is Given $888,982 Value,” Chicago Daily Tribune, Nov. 19, 1932, p. 16.
Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 18, no. 19; 47, no. 19.
Daniel Catton Rich, “The Mrs. L. L. Coburn Collection,” in Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 7.
Art Institute of Chicago, Catalogue of A Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Art Institute of Chicago, 1933), p. 43, cat. 292.
Roger Brielle, “Le Visage de la France vu par nos Artistes: III. La Normandie,” L’Art et les artistes 28, 143 (Jan. 1934), p. 129 (ill.).
Art Institute of Chicago, Catalogue of A Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Art Institute of Chicago, 1934), pp. 36–37, cat. 210.
Toledo Museum of Art, Catalogue: French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1934), n. pag., cat. 8 (paintings).
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28.
William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, “Exhibition of French Impressionist Landscape Paintings,” The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts News Flashes 3, 2 (Dec. 1, 1936), p. 2.
William Rockhill Nelson Gallery of Art and Mary Atkins Museum, Exhibition: French Impressionist Landscape Painting, exh. cat. (William Rockhill Nelson Gallery of Art and Mary Atkins Museum, 1936), cover (ill.); p. 6, cat. 23.
Lionello Venturi, Les Archives de l’Impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres. Mémoires de Paul Durand-Ruel. Documents, vol. 2 (Durand-Ruel, 1939), p. 257.
Art Institute of Chicago, “List of Exhibitions,” Bulletin of the Art Institute of Chicago 39, 4 (Apr.–May 1945), p. 64.
John Rewald, The History of Impressionism (Museum of Modern Art/Simon and Schuster, 1946), p. 137 (ill.).
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Art Institute of Chicago, 1948), p. 34.
Oscar Reuterswärd, Monet: En konstnärshistorik (Albert Bonniers Förlag, 1948), p. 281.
Kenneth Clark, Landscape into Art (John Murray, 1949), pp. xiii; 88, pl. 81.
Daniel Catton Rich, “Midwest Art Capital,” Town and Country 105 (Mar. 1951), p. 75 (ill.).
Foreword by Georges Besson and René Wehrli, Claude Monet: 1840–1926, exh. cat. (Kunsthaus Zürich, 1952), pl. IV; p. 19, cat. 11.
Foreword by L. W. [L. J. F. Wijsenbeeck?] and George Besson, Claude Monet, exh. cat. (Gemeentemuseum, 1952), cat. 9 (ill.).
Meyer Schapiro, Paul Cezanne (Harry N. Abrams, 1952), pp. 11 (ill.), 12.
Daniel Wildenstein, Claude Monet, exh. cat. (Galerie Beaux-Arts, 1952), pp. 14, cat. 8 (ill.); 59.
Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1956), p. 34.
A. C., The Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), pp. 22 (ill.), 24, 28, 33, 36.
Claude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), p. 45, cat. 4 (ill.).
William C. Seitz, “Claude Monet’s View of Nature,” in Claude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), pp. 16, 21, 24.
Denis Rouart, Claude Monet, trans. James Emmons (Skira, 1958), p. 38 (ill.).
William C. Seitz, Claude Monet (Harry N. Abrams, 1960), pp. 74, 75 (ill.).
Arthur Millier, “Summer Relief: ‘Painters by the Sea,’” Los Angeles Times, Aug. 27, 1961, p. N18 (ill).
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 278 (ill.), 318.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (Sept. 1966), pp. 201, fig. 32; 202–03.
Joel Isaacson, “The Early Paintings of Claude Monet” (Ph.D. diss., University of California, Berkeley, 1967), pp. xii, 183–84, 185.
Edward Barry, “The Institute That Art Built,” Chicago Tribune, Mar. 2, 1969, p. 84.
John Maxon, The Art Institute of Chicago (Harry N. Abrams, 1970), pp. 80 (ill.), 81.
Anthea Callen, “Jean-Baptiste Faure, 1830–1914: A Study of a Patron and Collector of the Impressionists and Their Contemporaries with a Catalogue of His Collection” (M.A. thesis, University of Leicester, 1971), pp. 28; 325–26, cat. 437.
Kermit Swiler Champa, Studies in Early Impressionism (Yale University Press, 1973), pp. 19; 20, fig. 26.
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1 (Bibliothèque des Arts, 1974), pp. 38; 162; 163, cat. 92 (ill.).
M. Therese Southgate, “About the Cover,” JAMA: The Journal of the American Medical Association 232, 4 (Apr. 28, 1975), cover (ill.); p. 340 (ill.).
M. Therese Southgate, “About the Cover,” JAMA: The Journal of the American Medical Association 233, 3 (July 21, 1975), p. 259.
Horst Keller, Die Kunst der französischen Impressionisten (Herder, 1975), pp. 54; 128–29, pl. 80; 269.
Mike Samuels and Nancy Samuels, Seeing with the Mind’s Eye: The History, Techniques, and Uses of Visualization (Random House, 1975), p. 70 (ill.).
Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, exh. cat. ed. Susan Wise (Art Institute of Chicago, 1975), p. 30.
Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 64, cat. 10 (ill.).
Charles C. Cunningham, Susan D. Peters, and Kathleen Zimmerer, Jongkind and the Pre-Impressionists: Painters of the Ecole Saint-Siméon, exh. cat. (Sterling and Francine Clark Art Institute, 1977), pp. 23; 134, cat. 90 (ill.); 135.
Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 22; 90–91, fig. 48.
Roger Terry Dunn, “The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889” (Ph.D. diss., Northwestern University, 1978), pp. 78, 246.
Gaëtan Picon, The Birth of Modern Painting (Skira, 1978), pp. 62–63 (ill.), 118.
J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Cross River Press, 1979), pp. 52–53 (ill.).
Brian Petrie, Claude Monet: The First of the Impressionists (Phaidon, 1979), pp. 31–32, pl. 26; 33.
Hélène Adhémar, Anne Distel, and Sylvie Gache, Hommage à Claude Monet (1840–1926), exh. cat. (Réunion des Musées Nationaux, 1980), pp. 80; 82, cat. 16 bis (ill.).
Diane Kelder, The Great Book of French Impressionism (Abbeville Press, 1980), pp. 182 (ill.), 437.
Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 31, no. 9 (ill.); 67.
Sylvie Gache-Patin, “Private and Public Gardens,” in A Day in the Country: Impressionism and the French Landscape, exh. cat. ed. Andrea P. A. Belloli (Los Angeles County Museum of Art, 1984), p. 217.
Sylvie Gache-Patin and Scott Schaefer, “Impressionism and the Sea,” in A Day in the Country: Impressionism and the French Landscape, exh. cat. ed. Andrea P. A. Belloli (Los Angeles County Museum of Art, 1984), p. 276.
Scott Schaefer, “The French Landscape Sensibility,” in A Day in the Country: Impressionism and the French Landscape, exh. cat. ed. Andrea P. A. Belloli (Los Angeles County Museum of Art, 1984), pp. 58; 62; 66; 69, no. 6 (ill.).
Scott Schaefer, “The Retreat from Paris,” in A Day in the Country: Impressionism and the French Landscape, exh. cat. ed. Andrea P. A. Belloli (Los Angeles County Museum of Art, 1984), p. 312.
Sylvie Gache-Patin, “Jardins privés et jardins publics,” in Réunion des Musées Nationaux, L’Impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), p. 222.
Sylvie Gache-Patin and Scott Schaefer, “La Mer,” in Réunion des Musées Nationaux, L’Impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), p. 295.
Scott Schaefer, “Le Paysage dans la peinture française au cours des années 1860,” in Réunion des Musées Nationaux, L’Impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 46; 48; 54–55, no. 6 (ill.).
Scott Schaefer, “L’Évasion loin de Paris,” in Réunion des Musées Nationaux, L’Impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), p. 342.
Richard Shiff, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (University of Chicago Press, 1984), pp. 108; 110–11, fig. 21; 116.
John House, “Monet and the Genesis of His Series,” in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI Corporation, 1985), pp. 12; 13, fig. 3.
Hollis Clayson, “A Failed Attempt,” in The New Painting: Impressionism, 1874–1886, exh. cat. ed. Charles S. Moffett (Fine Arts Museums of San Francisco, 1986), p. 147.
Charles S. Moffett, ed., The New Painting: Impressionism, 1874–1886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 162; 163; 180, cat. 31 (ill.).
Richard R. Brettell, French Impressionists (Art Institute of Chicago/Harry N. Abrams, 1987), pp. 10 (detail), 11, 12 (ill.), 118.
Douglas Skeggs, River of Light: Monet’s Impressions of the Seine (Victor Gollancz, 1987), pp. 37, 39 (ill.).
Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), pp. 264–65, pl. 267 (detail); 265; 284; 289, pl. 295; 290; 292; 296.
Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muiei︡a Metropoliten v Ni︡u-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great French Paintings From the XIX Century to the Beginning of the XXth Century from the Metropolitan Museum of Art in New York and the Art Institute of Chicago], exh. cat. (Avrora, 1988), cat. 27 (ill.).
Francesco Arcangeli, Monet (Nuova Alfa Editoriale, 1989), pp. 29–30; 82, fig. 8.
Michael Howard, Monet (Brompton Books, 1989), p. 50 (ill.).
Richard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), p. 43 (ill.).
Musée Rodin, Claude Monet—Auguste Rodin: Centenaire de l'exposition de 1889, exh. cat. (Musée Rodin, 1989), pp. 53; 74, cat. 5/92 (ill.).
Jacques Vilain, “Les Débuts (1840–1870),” in Musée Rodin, Claude Monet—Auguste Rodin: Centenaire de l'exposition de 1889, exh. cat. (Musée Rodin, 1989), p. 111.
Alvin Martin and Judi Freeman, “The Distant Cousins in Normandy: Braque, Dufy, and Friesz,” in Judi Freeman, The Fauve Landscape, exh. cat. (Los Angeles County Museum of Art/Abbeville Press, 1990), p. 226, pl. 237.
Denis Rouart, Monet (Nathan, 1990), p. 23 (ill.).
Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Benedikt Taschen Verlag, 1990), pp. 36–37 (ill.), 38.
Stanley David Gedzelman, “Weather Forecasts in Art,” Leonardo 24, 4 (1991), pp. 446; 447, fig. 6.
Stanley David Gedzelman, “The Sky in Art,” Weatherwise 44, 6 (Dec. 1991/Jan. 1992).
Norma Broude, Impressionism: A Feminist Reading (Rizzoli, 1991), pp. 24; 93, pl. 13.
Charles S. Moffett, “Sainte-Adresse,” in National Gallery of Art, Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, exh. cat. (National Gallery of Art, 1991), p. 154.
Sylvie Patin, Monet: “Un oeil . . . mais, bon Dieu, quel oeil!” (Gallimard/Réunion des Musées Nationaux, 1991), pp. 12–13 (detail).
Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5 (Wildenstein Institute, 1991), p. 23, cat. 92.
Virginia Spate, Claude Monet: Life and Work (Rizzoli, 1992), pp. 46–47, ill. 43; 48; 115; 117; 154.
Introduction by James N. Wood, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago (Art Institute of Chicago/Abbeville Press, 1993), p. 50 (ill.).
Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), pp. ii (detail); 10; 11; 12, fig. 13.
Henri Lallemand, Monet: Impressions of Light (Todtri Productions, 1994), pp. 23, 39 (ill.).
Steven Z. Levine, Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self (University of Chicago Press, 1994), pp. 30; 33, fig. 28.
Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 296; 322; 430, cat. 136/fig. 88.
Gary Tinterow, “Le Paysage réaliste,” in Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 66; 67, fig. 88/cat. 136.
Gary Tinterow, “The Realist Landscape,” in Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), pp. 66; 67, fig. 88/cat. 136.
Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), pp. 296; 322; 432, fig. 88/cat. 136; 433.
Grace Seiberling, “Monet’s Hauling a Boat, Honfleur,” Porticus: Journal of the Memorial Art Gallery of the University of Rochester 17–19 (1994–96), pp. 42; 43, fig. 4.
Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 9–10; 12–13; 28–29; 73, pl. 2.
John House, “Framing the Landscape,” in John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Landscapes of France: Impressionism and Its Rivals, exh. cat. (Hayward Gallery, 1995), pp. 12; 15, fig. 1.
Charles F. Stuckey and Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames and Hudson, 1995), pp. 34, cat. 12 (ill.); 201; 218.
John Russell Taylor, Claude Monet: Impressions of France from Le Havre to Giverny (Collins and Brown, 1995), pp. 22–23 (detail).
Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume I. Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 50, 55, 63, 67, 70.
Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, Volume II. Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 40, cat. II–151; 57 (ill.); 289.
John House, “The View from Le Havre: Painters and the Seine Estuary,” in Boudin to Dufy: Impressionist and Other Masters from the Musée des Beaux-Arts, Le Havre, exh. cat. ed. Timothy Wilcox and Margot Heller (Scolar Press/Hove Museum and Art Gallery/Southampton City Art Gallery, 1996), p. 20, fig. 8.
Daniel Wildenstein, Monet: Catalogue Raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), p. 49, cat. 92 (ill.).
Meyer Schapiro, Impressionism: Reflections and Perceptions (George Braziller, 1997), pp. 69–70, fig. 20.
M. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), p. 8 (ill.).
Dianne W. Pitman, “Overlapping Frames,” in Monet & Bazille: A Collaboration, exh. cat. ed. David A. Brenneman (High Museum of Art/Harry N. Abrams, 1998), pp. 53; 55, fig. 26.
Compiled by Phaedra Siebert, “Chronology,” in Monet & Bazille: A Collaboration, exh. cat. ed. David A. Brenneman (High Museum of Art/Harry N. Abrams, 1998), p. 99.
Selected by James N. Wood, Master Paintings in The Art Institute of Chicago (Art Institute of Chicago/Hudson Hills Press, 1999), p. 50 (ill.).
Belinda Thomson, Impressionism: Origins, Practice, Reception (Thames and Hudson, 2000), p. 99, fig. 92.
Selected by James N. Wood, Impressionism and Post-Impressionism in the Art Institute of Chicago (Art Institute of Chicago/Hudson Hills Press, 2000), p. 32 (ill.).
Karl F. Nordstrom and Nancy L. Jackson, “Using Paintings for Problem-Solving and Teaching Physical Geography: Examples from a Course in Coastal Management,” Journal of Geography 100, 5 (Sept./Oct. 2001), pp. 143; 144, fig. 3; 145; 146.
Maria Teresa Benedetti, Monet: I luoghi (Giunti, 2001), p. 6 (ill.).
Richard Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 1 (Teaching Company, 2002), pp. 61, 63, 71.
María Escribano, Juan Pérez de Ayala, and Óscar Alonso Molina, La marina (Carroggio, 2002), pp. 75, 76 (ill.).
John House, “The Viewer on the Beach,” in Soil and Stone: Impressionism, Urbanism, Environment, ed. Frances Fowle and Richard Thomson (Ashgate Publishing Company, 2003), pp. 8; 9, fig. 1.2.
John Leighton, “Claude Monet,” in Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 203–04.
Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 215, pl. 97; 258.
John Leighton, Edouard Manet: Impressions of the Sea (Van Gogh Museum, 2004), pp. 47; 50, fig. 44.
Norio Shimada, Inshoha bijutsukan (The History of Impressionism) (Shogakukan, 2004), p. 76 (ill.).
Vanessa Gavioli, ed., Monet, Art Classics (Rizzoli, 2005), pp. 72–73 (ill.), 180 (ill.).
Roberto Tassi, “Monet’s Studio,” in Monet, Art Classics, ed. Vanessa Gavioli (Rizzoli, 2005), pp. 10–11 (detail).
Richard R. Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum, vol. 1 (Norton Simon Art Foundation/Yale University Press, 2006), p. 137, fig. 33a.
Heather Lemonedes, Lynn Federle Orr, and David Steel, Monet in Normandy, exh. cat. (Fine Arts Museums of San Francisco/North Carolina Museum of Art/Cleveland Museum of Art, 2006), pp. 58; 61, cat. 5 (ill.); 108; 183; 189.
Norio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 33 (ill.).
Joseph Baillio and Cora Michael, “Highlights of the Exhibition,” in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 185, 214.
John House, “Representing the Beach: The View from Paris,” in John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts/Thames and Hudson/Harry N. Abrams, 2007), p. 23.
John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts/Thames and Hudson/Harry N. Abrams, 2007), pp. 2–4 (detail); 75; 76, cat. 32 (ill.); 125; 128; 130, cat. 32 (ill.); 131; 132.
Gary Tinterow, “Regatta at Sainte-Adresse,” in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art (Metropolitan Museum of Art/Yale University Press, 2007), p. 136.
Paul Hayes Tucker, “Some Notes on Monet’s Practice,” in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 73, fig. 8; 74.
Eric M. Zafran, “Monet in America,” in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 127.
Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 213 (ill.).
Selected by James Cuno, Master Paintings in the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2009), p. 50 (ill.).
Joseph Baillio, “Monet à Sainte-Adresse en 1867,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 49, 54.
Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 70, fig. 4.4; 82.
Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of French Impressionism: Masterpieces from the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2010), p. 52, cat. 16 (ill.).
John House, “Social Reality versus the Thrall of Convention: The French Nineteenth Century Landscape,” in From Corot to Monet: The Ecology of Impressionism, exh. cat. ed. Stephen F. Eisenman (Skira/Rizzoli, 2010), p. 37.
John House, “Le Sujet chez Monet,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 21, 27.
Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 110, cat. 16 (ill.).
Michael F. Zimmerman, “Radical Alienation—Radical Involvement: A Brief History of Subjectivity and Landscape up to Impressionism,” in From Corot to Monet: The Ecology of Impressionism, exh. cat. ed. Stephen F. Eisenman (Skira/Rizzoli, 2010), pp. 114; 115, fig. 7.
