Cat. 13: The Beach at Sainte-Adresse, 1867

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Cat. 13. The Beach at Sainte-Adresse, 1867.

Catalogue #: 13 Donor / Collector: Coburn Active: Yes Creator: Claude Monet French, 1840-1926 Work Title: The Beach at Sainte-Adresse Creation: 1867 Materials: Oil on canvas Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection Accession: 1933.439 Tombstone:

Cat. 13

The Beach at Sainte-Adresse1
1867
Oil on canvas; 75.8 × 102.5 cm (29 13/16 × 40 5/16 in.)
The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.439

Author: Gloria Groom and Jill Shaw Curatorial Entry:

Monet and the Normandy Coast

In the mid-1860s, Monet returned to the Normandy Coast—a place whose picturesque sites, villages, and vantage points he had known well as a child (fig. 13.1). The area had changed dramatically over the course of the nineteenth century, however, due in large part to the expanding rail network and the proliferation of travel guidebooks and illustrated publications. What were small, rural fishing villages at the beginning of the century rapidly became seaside resorts for tourists and vacationers, thereby altering the physical and social landscape in dramatic ways.2

Not only did the coastal landscape and sites of Normandy become popular with tourists, but they were also favorite subjects of many nineteenth-century artists, especially Monet, who painted the region’s natural and man-made attractions hundreds of times during his career and is considered by many to be “the greatest visual poet of Normandy.”3 Monet’s seascapes of the 1860s—the decade before he became known as the leader of the Impressionist movement—most often feature the coasts of Le Havre (on the northern bank of the estuary of the Seine), Honfleur (on the southern bank of the estuary, across from Le Havre), and, as in the present picture, Sainte-Adresse, a coastal suburb just northwest of Le Havre where the artist’s aunt Sophie Lacadre owned a villa. Recently, scholars have noted that during this decade there were divided opinions about the condition of Sainte-Adresse: some writers commented that “all the seductions of solitude, silence and oceanic contemplation still reign there”;4 others complained that it had “lost most of the rustic appearance which gave it its charm.”5 In any event, Sainte-Adresse had certainly become more accessible to the public imagination by the mid-1860s, as it had been popularized in the writings of the French critic Alphonse Karr6 and documented by artists including painters Frédéric Bazille,7 Jean-Baptiste-Camille Corot,8 and Johan Barthold Jongkind,9 as well as photographer Gustave Le Gray (fig. 13.2 and fig. 13.3).10 It is through this complex lens that one must read Monet’s The Beach at Sainte-Adresse.

Monet’s Early Paintings of Sainte-Adresse and the Normandy Coast

The Beach at Sainte-Adresse was executed in the summer of 1867, an extraordinarily challenging time for Monet. Earlier in the year, upon learning that his mistress, Camille Doncieux, was pregnant, Monet had moved into his aunt’s home in Sainte-Adresse. In order to shield his disapproving family from the situation, he discreetly shuttled back and forth to Paris, where he had arranged for Camille to be cared for. Despite (or perhaps because of) his complicated personal life, Monet was productive during this period; by the end of June, he wrote from Sainte-Adresse to the painter Frédéric Bazille that he had “twenty or so canvases well under way, stunning seacapes, figures, and gardens, something of everything in fact.”11 It was not the first time Monet had painted the Normandy coast, or specifically Sainte-Adresse, however. Just two years earlier, he had made his debut at the 1865 Paris Salon with two large, ambitious seascapes of the region—Pointe de la Hève at Low Tide (fig. 13.4), a picture depicting the Sainte-Adresse beach looking northward; and Mouth of the Seine, Honfleur (fig. 13.5), which portrays a site on the southern bank of the estuary of the Seine, across from Le Havre.12 These two works—largely praised by Salon critics—were painted in Monet’s studio and based on smaller oil studies on canvas that he had previously made on location.13 Notably, in the Salon compositions as well as other paintings he made around this time, the artist downplayed the ongoing resort development in Normandy. With their rather muted, gray- and brown-infused palettes, Monet’s early seascapes predominantly depict brooding natural environments and feature Normandy’s beaches and terrain as the workplaces of its local inhabitants and fishermen.14

Monet’s seascapes from the summer of 1867, however, proved to be markedly different than those he had painted only a couple of years earlier. Beach exemplifies his evolving painting technique at this time and foreshadows some of the qualities that would later become characteristic of the Impressionist movement; indeed, the fact that Monet was represented by the painting at the Second Impressionist Exhibition in 1876—nearly ten years after it was executed—is a testament to this. Perhaps the most striking change apparent in Monet’s work from the summer of 1867 is that, unlike his earlier coastal landscapes, he painted Beach out of doors. Complaining of the difficulty of painting en plein air, he wrote to Bazille in July: “I am losing my sight. . . . I can barely see after working for half an hour; the doctor told me that I had to stop painting out of doors.”15 Undoubtedly, the severe glare and changing weather conditions Monet experienced contributed to the choice of color he used in creating these pictures. Indeed, the palette of Beach is blonder and brighter than those of his 1865 Salon seascapes. In large part, this is due to the artist’s greater use of localized strong color as well paint mixtures that are cooler in tone and mixed with lead white, especially in the beach and sky (see Technical Report).

The paintings Monet executed in Sainte-Adresse in the summer of 1867 also differed from his earlier depictions in terms of their subject matter, for these pictures comprised the artist’s “first sustained campaign of painting that involved tourism.”16 The viewer is immediately drawn to the visible artifacts of local life in Beach—dark-sailed fishing boats drift in the water, and other beached crafts are surrounded by fishermen and some of their work accessories. The two groups of boats frame two figures sitting on the shoreline: a man in a dark hat and suit looking out at the sea or sky through his telescope, accompanied by a woman wearing a yellow hat with a red ribbon (fig. 13.6). The woman’s dress—perhaps the composition’s brightest element—further captures the viewer’s gaze; in this, one of the few areas of notable impasto in the painting, Monet constructed the garment out of a few strokes of almost pure lead-white paint. Upon recognizing the couple—undoubtedly vacationers, given their attire—our view of the painting’s narrative changes. As aptly noted by Robert L. Herbert, “We are obliged to convert a traditional seacoast scene to one that has been invaded by modern life.”17

New Observations

The Beach at Sainte-Adresse is often considered to be a pendant to Monet’s Regatta at Sainte-Adresse (1867; Metropolitan Museum of Art, New York) (fig. 13.7). Though there is no evidence that the artist wanted to exhibit or sell these paintings as a pair, Regatta, also executed during the summer of 1867, was painted on a canvas very close in size to the Art Institute’s work, and both depict the same portion of the Sainte-Adresse beach and include signs—notably a new villa on top of the hill at left and the presence of vacationers—of the physical and social transformations taking place at the resort destination.18 Although many scholars have noted the complementary nature of these two paintings and the fact that each picture references the coexistence of local and tourist life at Sainte-Adresse, Beach is dominated by fishermen and dark-sailed ketches, while Regatta is filled with urban tourists and white-sailed leisure yachts.19 Furthermore, the former has a slightly sketchier paint quality and depicts the water at low tide with an overcast sky; in contrast, the compositional elements of Regatta seem more finished, and it portrays a sunny day at high tide.

Technical analysis undertaken in 2009–11, however, revealed that Monet did not always intend for local life to dominate Beach; in fact, there are a number of indications that the Art Institute’s composition was originally closer to that of the Metropolitan Museum’s painting than has been previously recognized. Infrared imaging reveals that in an earlier stage of the Art Institute’s canvas there was a group of four or five figures on the shoreline at the right side of the painting: furthest to the right were a man and woman, to their left were two men (one standing and one possibly seated), and to their left was perhaps another seated figure (fig. 13.8). Though it is difficult to determine the specific details of their clothing, it is clear that they represent a group of city-dwelling vacationers: the woman, located second from the right, wears a long dress, and three of the accompanying figures clearly sport hats, the silhouettes of which look like those of the tourists in Regatta. Moreover, these figures face the water, much in the same way that the tourists depicted in the Metropolitan Museum’s picture look out onto the English Channel to watch the regatta. These well-dressed figures were clearly the prominent human element in the original composition and were painted on a scale similar to or slightly larger than the three fishermen at left, which were late additions to the painting.  It is notable that some particles of charcoal were identified near the heads of these fishermen, suggesting a possible underdrawing and bringing to mind Monet’s graphic works—like Cliffs and Sea, Sainte-Adresse (cat. 12) (fig. 13.9)—of the same period.

Infrared and X-radiograph imaging of Beach also indicate that in an earlier stage of the composition Monet included an additional cluster of boats in the water along the right side of the canvas (fig. 13.10). Though subsequently painted out, these earlier crafts had sails that were similar in form and scale to those of the small- and medium-size leisure yachts in the Metropolitan Museum’s painting, although none equaled the size of the largest boat in the foreground of Regatta. More importantly, however, the sails on the earlier boats in Beach were white, indicating that they were pleasure boats, not dark-sailed fishing boats like those that appear in the final composition. By painting out these original sailboats and replacing them with working boats, Monet changed the narrative of the painting from one that foregrounded the leisure class to one that featured local life at Sainte-Adresse.

When Monet wrote to Bazille in June 1867, he described that “among my seascapes, I’m painting the regattas at Le Havre with lots of people on the beach and the ship lane covered with small sails.”20 While the Metropolitan Museum’s painting fits neatly into this characterization, it has always been difficult to reconcile the subject matter of Beach with Monet’s description, since the painting’s subject has little to do with regattas or the tourist population that gathered to watch them. The presence of vacationers and white-sailed boats in an earlier stage of the painting, however, suggests that Monet began the Art Institute’s picture within the framework that he outlined to Bazille and did not originally intend Beach and Regatta to be as dichotomous as they now appear. It was only at a later stage in his painting process that Monet deliberately complicated the meaning of Beach and, more significantly, the dialogue it shares with the Metropolitan Museum’s picture. 
Gloria Groom and Jill Shaw

Author: Kimberley Muir Technical Report:

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. 13.11).21  

Signature

Signature/stamp:
Signed and dated at lower right, painted: Claude Monet (dark brown) and 67 (reddish purple) (fig. 13.12 and fig. 13.13).22 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).23

Standard format:
The original foldover dimensions are approximately 75 × 101 cm.24 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.25 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.26

Ground application/texture:
There are two distinct preparatory layers (fig. 13.14). 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. 13.15). 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. 13.16). Cross-section analysis shows another layer below the pinkish-beige one that is light gray in color (fig. 13.17).

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.27

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. 13.18 and fig. 13.19). At the extreme left edge, directly above the boats, are three short lines at varying angles (fig. 13.20), where the black particles appear to be on top of or incorporated into the paint layer (fig. 13.21).

Medium/technique:
Charcoal.28

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. 13.22): 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. 13.23). With the use of transmitted infrared (IR), a fourth figure to the left of the standing group comes to light (fig. 13.24).29 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. 13.25). 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. 13.26).

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. 13.27). 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. 13.28). 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. 13.29) and, subsequently, more billowing smoke from the chimneys (fig. 13.30), which was then cursorily obscured with a few strokes of grayish paint (fig. 13.31). 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. 13.32).

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. 13.33). 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. 13.34). 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. 13.35). Brushstrokes related to the beach continue underneath the figures (fig. 13.36). 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. 13.37). 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. 13.38). 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. 13.39 and fig. 13.40); 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. 13.41). The erosion-prevention structures, placed at intervals perpendicular to the distant shore, were originally longer, perhaps suggesting a change in the water level (fig. 13.42).

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. 13.43). It also remains visible in small areas through open brushwork—for example, in the distant beach (fig. 13.44). 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. 13.45). The painting includes both wet-over-dry (fig. 13.46) and localized areas of wet-in-wet paint application (fig. 13.47), 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. 13.48). The middle fisherman was executed with thick, fluid paint, the strokes of which melded together (fig. 13.49). 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. 13.50).

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.30

Binding media:
Oil (estimated).31

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. 13.51).

Previous frame (installed after November 1, 1933): A 1960–70 American reproduction of a French Régence frame, gilded with a gray decape finish (fig. 13.52).

Previous frame (installed by April 6, 1932): Louis XIV Revival frame ([figure:osci_technical_analysis_fig_268_52] and fig. 13.53).32

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.33 An unsigned note attached to this report indicates that the painting was cleaned in 1957.34

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 

Provenance:

Provenance

Sold to Durand-Ruel, Paris, Feb. 28, 1873, for 400 fr.35

Probably sold to Jean-Baptiste Faure, Paris, by 1876.36

Sold to Durand-Ruel, Paris, Jan. 9, 1893, for 7,000 fr.37

Sold to Henri Véver, Paris, Jan. 17, 1893, for 8,000 fr.38

Sold at Galerie Georges Petit, Paris, Feb. 1–2, 1897, lot 79, to Boulley, as the agent for Georges Kohn, Paris, for 9,000 fr.39

Sold jointly to Durand-Ruel, Paris, and Bernheim-Jeune, Paris, June 11, 1920, for 40,000 fr.40

Sold by Durand-Ruel, New York, to Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago, Feb. 8, 1923.41

Bequeathed to the Art Institute of Chicago, 1933.42

Exhibitions:

Exhibition History

Possibly London, Durand-Ruel, Eighth Exhibition of the Society of French Artists, spring 1874, cat. 142.43

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. 5.44

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. 13.54).45

St. Louis, City Art Museum of St. Louis, Paintings by French Impressionists (1860–1880), Apr. 17–May 16, 1934, no cat.46

Chicago, Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–Oct. 31, 1934, cat. 210.47

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.).48

Chicago, Art Institute of Chicago, Masterpiece of the Month, June 30–July 31, 1945, no cat.49

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.50

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, 1961.51

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:

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. 35.52

Possibly Durand-Ruel, London, Eighth Exhibition of the Society of French Artists, exh. cat. (Durand-Ruel, 1874), p. 11, cat. 142.53

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. 55.54

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. 70.55

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, 262.56

Camille Mauclair, Claude Monet (F. Rieder et Cie, 1924), p. 36, pl. 6.57

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. 28.58

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, 185.59

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.), 81.60

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. 437.61

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).62

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. 1.63

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.).64

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.

Other Documentation:

Other Documentation

Archival Documentation from the Durand-Ruel Archives

Stock Durand-Ruel Paris 2585 (à deux reprises: en 1873 et en 1893) et 1170165
Stock Durand-Ruel Paris 2585, Marine, temps gris, Livre de stock Paris 1868–73; Stock Durand-Ruel Paris 11701, Sainte-Adresse, 1867, Livre de stock Paris 1921; Ce tableau a été acheté à deux reprises par Durand-Ruel

Photo Durand-Ruel Paris 9125
Sainte-Adresse (1867), 12 juin 192066

Dépôt (et non stock) Durand-Ruel New York livre de 1904, dépôt n°8044
Sainte-Adresse, 1867, Livre de dépôt New York 1894–1925, dépôt n°8044 (Est mentionnée la vente à A. S. Coburn le 8 février 1923)67

Labels and Inscriptions

Undated

Label
Location: backing board
Method: printed label with typewritten script
Content: THE ART INSTITUTE OF CHICAGO / artist Claude Monet / title Beach at Sainte Adresse. 1867 / medium oil on canvas / credit M/M L.L. Coburn Memorial Collection / acct. # 1933.439 (fig. 13.55)

Label
Location: stretcher back
Method: printed label with typewritten script and green ink stamp
Content: THE ART INSTITUTE OF CHICAGO / Chicago, Illinois 60603 / ARTIST Monet, Claude / TITLE The Beach at Sainte-Adresse / MEDIUM oil on canvas / DATE 1867 SIZE / COLLECTION Mr. and Mrs. Lewis L. Coburn / [. . .] Collection 33.439 
Ink stamp: Inventory—1980–1981 (fig. 13.56)

Number
Location: stretcher back
Method: handwritten script
Content: 1933.439 (fig. 13.57)

Number
Location: stretcher back
Method: handwritten script
Content: 1933.439 (fig. 13.58)

Inscription
Location: stretcher back
Method: handwritten script
Content: MONET BEACH AT SAINTE AdRESS 1933.439 (fig. 13.59)

Inscription
Location: lining canvas back
Method: handwritten script
Content: MONET (fig. 13.60)

Pre-1980

Label
Location: original location on previous Masonite-type backing board; discarded, transcription in curatorial file
Method: unknown
Content: Sterling and Francine Clark Inst., “Jongkind and the Pre-Impressionists”, Dec. 17, 1976–Feb. 13, 1977 (Temporary regis. No. 474/76)

Label
Location: stretcher back
Method: printed label
Content: I. C. A. SPRING STRETCHERS / OBERLIN, OHIO 44074 (fig. 13.61)

Post-1980

Label
Location: stretcher back
Method: green ink stamp
Content: Inventory—1980–1981 (fig. 13.62)

Label
Location: original location on previous Masonite-type backing board; discarded, transcription in curatorial file
Method: unknown
Content: Reunion des musées nationaux, Paris, “Homage à Monet,” Galeries nationales du Grand Palais, 8 Fevrier à 5 Mai

Label
Location: backing board
Method: printed label with handwritten script
Content: Réunion des musées nationaux Paris / La plage de Sainte-Adresse / Titre de l’oeuvre: /  Propriétaire: Art Institute of Chicago / N^O du Catalogue: 136 (fig. 13.63)68

Label
Location: backing board
Method: printed label
Content: 136 / Claude Monet / La Plage de Saint-Adresse (The Beach at Sainte-Adresse) / Oil on canvas / The Art Institute of Chicago, Mr. and Mrs. Lewis L. Coburn / Memorial Collection / ORIGINS OF IMPRESSIONISM / The Metropolitan Museum of Art / September 27, 1994–January 8, 1995 (fig. 13.64)

Label
Location: backing board
Method: printed label
Content: The Art Institute of Chicago / “Claude Monet: 1840–1926” / July 14, 1995–November 26, 1995 / Catalog: 12 / The Beach at Sainte-Adresse / La Plage de Sainte-Adresse / The Art Institute of Chicago, Mr. and Mrs. Lewis / Larned Coburn Memorial Collection (1933.439) (fig. 13.65)

Label
Location: frame back
Method: printed label
Content: Arnold Wiggins & Sons / Limited / 4 Bury Street / St. James’s / London SW1 / Picture Frame Makers / Carvers and Gilders
Left: BY APPOINTMENT / TO H. M. QUEEN ELIZABETH II / PICTURE FRAME MAKERS
Right: BY APPOINTMENT / TO H. M. QUEEN ELIZABETH / THE QUEEN MOTHER / PICTURE FRAME MAKERS (fig. 13.66)69

Label
Location: backing board
Method: printed label with handwritten script
Content: THE ART INSTITUTE OF CHICAGO / Manet and the Sea / The Art Institute of Chicago: 10/20/03–1/4/04 / Philadelphia Museum of Art: 2/15–5/30/04 / Van Gogh Museum: 6/18–9/26/04 / AIC / PMA / VGM / Cat. #: 97 / Claude Monet, French; 1840–1926 / THE BEACH AT SAINT-ADRESSE, 1867 / oil on canvas / 75 x 102 x cm., (29 1/2 x 40 3/4 in.) / The Art Institute of Chicago, Chicago, IL, USA/CRATE N^o 81 (fig. 13.67)

Label
Location: backing board
Method: printed label
Content: THE CLEVELAND MUSEUM OF ART / 11150 East Boulevard / Cleveland, Ohio 44106-1797 / Monet in Normandy / (6/17/2006–5/28/2007) / Claude Monet (French, 1840–1926) / The Beach at Sainte-Adresse, 1867 / Oil on canvas / 1867 / The Art Institute of Chicago, Mr. and Mrs. Lewis Larned / Coburn Memorial Collection, 1933.439 / CAT#: 05 / 1933.439 (fig. 13.68)

Label
Location: backing board
Method: printed label
Content: Royal Academy of Arts, London / Impressionists by the Sea / 3 July 2007 to 30 September 2007 / Claude Monet  Key No. 37  Cat. No. 32 / The Beach at Sainte-Adresse / The Art Institute of Chicago. Mr. and Mrs. Lewis Larned Coburn / Memorial Collection, 1933.439 (fig. 13.69)

Label
Location: backing board
Method: printed label
Content: rmn / Claude Monet 1840–1926 / Galeries nationales, Grand Palais / 22/09/2010–24/01/2011 / 10 / Chicago / The Art Institute of Chicago / La Plage de Sainte-Adresse / The Beach at Sainte-Adresse / inv. 1933.439 / huile sur toile (fig. 13.70)

Examination and Analysis Techniques

X-radiography
Westinghouse X-ray unit, films scanned on Epson Expressions 10000XL flatbed scanner.

Infrared Reflectography (IRR)
Surface Optics modified near infrared hyperspectral camera (collects 4 nm spectral band images from 960 to 1730 nm); Inframetrics Infracam (1.5-1.73µm filter; FUJIFILM S5 Pro with X-Nite1000B—2mm filter (1.0-1.1 µm).

Transmitted infrared
FUJIFILM S5 Pro with X-Nite1000B—2mm filter (1.0–1.1 µm).

Visible light
Normal light, raking light, and transmitted light overalls and macrophotography: FUJIFILM S5 Pro with X-NiteCC1 filter.

Ultraviolet light
FUJIFILM S5 Pro with X-NiteCC1 filter and Kodak Wratten 2E filter.

High-resolution visible light (and UV)
Sinar P3 camera with Sinarback evolution 75 H (B+W 486 UV IR cut MRC filter).

Microscopy and photomicrographs
Cross-section analysis using Zeiss Axioplan2 Research Microscope equipped with reflected light/UV fluorescence and a Zeiss AxioCam MRc5 digital camera (types of illumination used: darkfield, DIC [Differential Interference Contrast], and UV fluorescence). In situ photomicrographs with Wild Heerbrugg M7A StereoZoom Microscope fitted with Olympus DP71 microscope digital camera.

X-Ray Fluorescence Spectroscopy (XRF)
Several spots on the painting were analyzed in situ with a Bruker/Keymaster TRACeR III-V with Rhodium tube.

Polarized Light Microscopy (PLM)
Zeiss Universal Research Microscope.

Scanning Electron Microscopy coupled with Energy Dispersive X-Ray Spectroscopy (SEM/EDX)
Cross sections were analyzed after carbon coating with a Hitachi S-3400-N-II VPSEM with Oxford EDS and Hitachi solid state BSE. Analysis was performed at the EPIC facility of the NUANCE Center at Northwestern University.

Automated thread counting
Thread count and weave information were determined by Thread Count Automation Software.70

Image registration
Overlay images registered by Damon M. Conover (GW), Dr. John K. Delaney (GW, NGA), and Murray H. Loew (GW) of the School of Engineering and Applied Science, The George Washington University, and the National Gallery of Art, Washington, D.C., using a novel image-based correlation algorithm.71

Image Inventory (fig. 13.71)

Footnotes:

The Beach at Sainte-Adresse has had the following titles over the course of its history:
Feb. 28, 1873: Marine, temps gris [Durand-Ruel, Livre de stock Paris 1868–73 (stock 2585); see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.].
Possibly Spring 1874: Ste Adresse near Havre [Durand-Ruel, London, Eighth Exhibition of the Society of French Artists, exh. cat. (Durand-Ruel, 1874), p. 11, cat. 142; according to Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), p. 430, cat. 136/Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), p. 433, cat. 136.].
Apr. 1876: La Plage à Sainte-Adresse. [Catalogue de la 2e exposition de peinture [Second Impressionist Exhibition], exh. cat. (Imprimerie Alcan-Lévy, 1876), cat. 151.].
June 21, 1889: Sainte-Adresse. 1867. [Galerie Georges Petit, Claude Monet—A. Rodin, exh. cat. (Imprimerie de l’art, E. Ménard et Cie, 1889), p. 27, cat. 5; reprinted in Theodore Reff, ed., Miscellaneous Group Exhibitions, Modern Art in Paris 34 (Garland Publishing, 1981), n.pag.].
Jan. 9, 1893: Sainte-Adresse [Durand-Ruel, Livre de stock Paris 1891 (stock 2585); see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.].
Feb. 1–2, 1897: Sainte-Adresse. [Galerie Georges Petit, Paris, Collection H.V.: Catalogue de Tableaux Modernes de premier ordre: Pastels, Aquarelles, Dessins, sale cat. (Galerie Georges Petit, Feb. 1–2, 1897), p. 109, lot 79.]. 
June 11, 1920: Sainte-Adresse, 1867 [Durand-Ruel, Livre de stock Paris 1921 (stock 11701); see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.]. 
Feb. 8, 1923: Sainte-Adresse, 1867 [Durand-Ruel, Livre de dépôt New York 1894–1925, dépôt n°8044; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.].
The Art Institute currently uses the title that was given to the painting when it was exhibited at the Second Impressionist Exhibition.

The following texts were extremely beneficial in writing this entry and understanding the changing landscape of Normandy and the way in which Monet and other Impressionists treated the sites and subjects of the region: Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994); Richard Brettell’s essays in 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); and John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, 2007). For a detailed chronology of Monet’s life, see Charles F. Stuckey and Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames and Hudson, 1995).

Richard Brettell, “Monet’s Normandy before Monet,” in 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), p. 15.

Eugène Chapus, De Paris à Rouen et au Havre (L. Hachette et Cie, 1862), p. 244; quoted in John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, 2007), p. 125.

Eugène d’Auriac, Guide pratique, historique et descriptif aux bains de mer de la manche et de l’océan (Garnier Frères, 1866), p. 200; quoted in John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, 2007), p. 125.

John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, 2007), pp. 15–16. Alphonse Karr’s 1836 novel Le Chemin le plus court tells the story of a young painter from Le Havre and references numerous sites on the Normandy coast. Karr also published Les Soirées de Sainte-Adresse in 1853.

Michel Schulman, Frédéric Bazille 1841–1870: Catalogue raisonné, peintures, dessins, pastels, aquarelles (Editions de l’amateur/Editions des catalogues raisonnés, 1995), cat. 18 (1865).

Alfred Robaut, L’oeuvre de Corot: Catalogue raisonné et illustré, précédé de l’histoire de Corot et de ses oeuvres, vol. 2 (1905; repr., L. Laget, 1965), nos. 230, 235, 238–39. All of these works are dated to the period 1830–40.

Adolphe Stein et al., Jongkind: Catalogue critique de l’oeuvre (Brame and Lorenceau, 2003), nos. 50 (1847), 116 (1853), 216 (1858), 271 (1862), 272 (1862), 273 (1862), 274 (1862), 309 (1863), and 430 (1866).

As early as 1850, photographic studios began to be established in towns along the Normandy coast. Among the numerous photographers documenting the region was Gustave Le Gray, who made a series of photographs there during the summers of 1856 and 1858. Many of Le Gray’s views documented the transformation of the Normandy coastline. He was pioneering in his technical skill and creation of atmospheric photographs that presented little or no narrative context. Le Gray’s sea views instantly received acclaim in London and Paris, and it has been argued that Monet certainly would have known about these photographs, which may have played a role in his (and other Impressionists’) treatment of subjects and interest in capturing the momentary; see Carole McNamara, “Painting and Photography in Normandy: The Aesthetic of the Instant,” in The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874, exh. cat. (University of Michigan Museum of Art/Hudson Hills Press, 2009), pp. 15–33. Indeed, there is a certain affinity between Le Gray’s photograph The Beach at Sainte-Adresse and Monet’s painting.

Monet to Bazille, June 25, [1867]; quoted in Richard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), p. 24. A transcription of the original French letter appears in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1 (Bibliothèque des Arts, 1974), pp. 423–24, letter 33.

Daniel Wildenstein, Monet: Catalogue raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), cats. 51 (Norton Simon Museum) and 52 (Kimbell Art Museum).

See Richard R. Brettell and Stephen Eisenman, Nineteenth-Century Art in the Norton Simon Museum (Norton Simon Art Foundation/Yale University Press, 2006), pp. 316­–20, cat. 84. According to Daniel Wildenstein, Monet: Catalogue raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), pp. 23­–24, cat. 40, Horses at the Pointe de La Hève (1864; private collection), is the study for the Kimbell painting; and cat. 38, The Lighthouse by the Hospice (1864; Kunsthaus Zürich), is the study for the Norton Simon painting.

Richard Brettell, “Monet and Normandy,” in 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. 42–43.

Monet to Bazille, July 3, [1867]; quoted in 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. A transcription of the original French letter appears in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1 (Bibliothèque des Arts, 1974), p. 424, letter 34.

Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), p. 9.

Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), p. 11.

These details have been noted in a number of texts, including Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994); 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); 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; John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, 2007), pp. 130–31; and Joseph Baillio, “Monet à Sainte-Adresse en 1867,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Abrams, 2010), p. 54.

The only reference to the local fisherfolk in Regatta is the small dark-sailed boat in the center of the composition. Robert Herbert pointed out that yachts could be distinguished from fishing boats by their sail color: fishing boats typically had brown sails, and yachts had white sails, since white sails were more expensive. See Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), p. 292.

Monet to Bazille, June 25, [1867]; quoted in Richard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), p. 24. A transcription of the original French letter appears in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1 (Bibliothèque des Arts, 1974), pp. 423–24, letter 33.

It is interesting to note the difference in signature styles between this painting and the contemporary Regatta at Sainte-Adresse (1867; Metropolitan Museum of Art).

The fibers were identified by microscopic cross-sectional fiber analysis. See Inge Fiedler, “1933_439_Monet_analytical_report,” Sept. 23, 2011. Conservation Object File, Art Institute of Chicago.

The original dimensions of the painting are based on a visual estimate of the original foldovers. Because edges are often flattened and retouched in treatments, the precise foldover is not always clear, and the measurements may not be exact. Other factors, such as the stretcher having been keyed out before the artist started painting, could also result in small discrepancies between the actual dimensions and those of a standard canvas size.

Thread count and weave information were determined by Thread Count Automation Software; see C. Richard Johnson Jr., Don H. Johnson, and Robert G. Erdmann, “Thread Count Report: The Beach at Sainte-Adresse, Claude Monet, 1867 (W0092/1933.439),” July 2011. Conservation Object File, Art Institute of Chicago.

The presence of a sizing layer is difficult to determine from cross sections due to previous conservation treatments, including glue-paste and wax-resin linings.

The ground composition was analyzed using Scanning Electron Microscopy coupled with Energy Dispersive X-Ray Spectroscopy (SEM/EDX), Polarized Light Microscopy (PLM), and X-Ray Fluorescence Spectroscopy (XRF). See Inge Fiedler, “1933_439_Monet_analytical_report,” Sept. 23, 2011; and Kimberley Muir, “Mon_SAdresse_33_439_XRF_Results,” Aug. 28, 2009. Conservation Object File, Art Institute of Chicago.

 

 

 

 

 

Research on the collection of Impressionist paintings at the Wallraf-Richartz-Museum and Fondation Corboud in Cologne has detected similar traces of charcoal underdrawing in works by Monet and some of his contemporaries. It is noted that the "lines were easy to blow or brush away during the painting process. For this reason, the extent of the sketch (which can often only be demonstrated under a microscope) is in many cases practically imperceptible." Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Painting Light: The Hidden Techniques of the Impressionists (Skira, 2008), p. 102.

 

The material was analyzed using PLM. See Inge Fiedler, “1933_439_Monet_analytical_report,” Sept. 23, 2011. Conservation Object File, Art Institute of Chicago.

 

In the transmitted IR image, the light, which is positioned behind the painting, is blocked at the edges by the stretcher bars, making the couple at the far right difficult to discern.

The pigments were identified by the following methods: lead white, bone or ivory black, cobalt blue (XRF, PLM, SEM/EDX); iron-oxide red, iron-oxide yellow, chrome yellow, viridian, emerald green, vermilion (XRF, PLM); and red lake (PLM). Analysis was carried out on selected areas and may not include all pigments present in the painting. For more detailed results and conditions used, see Kimberley Muir, “Mon_SAdresse_33_439_XRF_Results,” Aug. 28, 2009; and Inge Fiedler, “1933_439_Monet_analytical_report,” Sept. 23, 2011. Conservation Object File, Art Institute of Chicago. A significant zinc peak was detected by XRF in one area of the painting: the yellow band of the fishing boat at left. No zinc white was identified by PLM analysis of the same area. The zinc could be due to an additive included by the paint manufacturer, such as zinc stearate. See Kimberley Muir, “Mon_SAdresse_33_439_XRF_Results,” Aug. 28, 2009. Conservation Object File, Art Institute of Chicago.

 

 

 

 

 

The binding medium was not analyzed. The estimation of an oil medium is based on visual examination, as well as knowledge of Monet’s technique and published analyses of other Monet paintings. 

See Louis Pomerantz, “Examination Report,” June 28, 1957. Conservation Object File, Art Institute of Chicago.

See unsigned note, July 1, 1957. Conservation Object File, Art Institute of Chicago.

See Alfred Jakstas, “Treatment Report,” Aug. 22, 1973. Conservation Object File, Art Institute of Chicago.

This frame dates to after Nov. 1, 1933, the closing date of the Art Institute's A Century of Progress Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933. A photograph of The Beach at Sainte-Adresse in the 1933 exhibition shows the same frame that appears on the painting in a photograph dating to before Apr. 6, 1932, of the interior of Mrs. Lewis Larned (Annie Swan) Coburn’s Blackstone Hotel apartment in Chicago. Art Institute of Chicago Archives.

This photograph showing The Beach at Sainte-Adresse in the interior of Mrs. Lewis Larned (Annie Swan) Coburn’s Blackstone Hotel apartment in Chicago dates to before Apr. 6, 1932, when the painting was exhibited in the Art Institute of Chicago's Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932. Art Institute of Chicago Archives. Mrs. Coburn died during the course of the exhibition, and the paintings remained at the Art Institute after it ended.

Any pair of images may be selected in the slider bar, which may be moved to transition between the two layers. Line annotations designed to draw attention to significant features in associated technical images may be turned on and off.  The red annotation lines associated with the natural-light image trace some of the painting’s key compositional features. When overlaid onto the technical image (X-ray, infrared reflectogram [IRR], transmitted infrared [IR], ultraviolet, etc.), the outlines help the viewer to better observe how features in the technical image relate to or diverge from the surface composition. The four-arrow icon in the lower-right corner can be used to switch from page view to full-image view. The circular arrow icon is used to revert to the image’s default settings. The jagged arrow icon brings up a list of available annotations, which may be turned on or off in any combination. In the upper-right corner are the key to the activated annotations and a navigation arrow to orient the detail within the context of the overall image. The vertical slider tool in the upper right is used to zoom into or out of the image. When viewing a detail of the overall, the image may be moved within the window by dragging it to the desired position.

According to the Durand-Ruel Archives, “Acheté par Durand-Ruel Paris (stock 2585) à l’artiste le 28 février 1873 pour 400 francs, Marine, temps gris.” Durand-Ruel, Livre de stock Paris 1868–73; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

According to Daniel Wildenstein, Monet: Catalogue raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), p. 49, cat. 92. Wildenstein’s catalogue raisonné explains that Durand-Ruel probably sold the painting to Faure around 1876. Agnès Lacau St. Guily (Wildenstein Institute, Paris), in an e-mail to Gloria Groom, July 27, 2011, stated, “For W 92, a written note in the file indicates that the provenance DR / Faure / DR / Vever / Sale Vever / Boulley for Georges Kohn (without confusion with French writer Gustave Kahn) comes from the Durand-Ruel archives.” La Plage à Sainte-Adresse is listed as “appartient à M. Faure” in Catalogue de la 2e exposition de peinture [Second Impressionist Exhibition], exh. cat. (Imprimerie Alcan-Lévy, 1876), cat. 151. According to the Durand-Ruel Archives, however, there is no documentation confirming that Faure purchased the painting from Durand-Ruel; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

According to the Durand-Ruel Archives, “Acheté par Durand-Ruel Paris (stock 2585) à Faure le 9 janvier 1893 pour 7000 francs, Sainte-Adresse.” Durand-Ruel, Livre de stock Paris 1891; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. This provenance is also noted in 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), p. 325, note 3.

According to the Durand-Ruel Archives, “Vendu par Durand-Ruel Paris (stock 2585) à Véver, Paris, le 17 janvier 1893 pour 8000 francs, Sainte-Adresse.” Durand-Ruel, Livre de stock Paris 1891; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. Anthea Callen suggested that Durand-Ruel might have sold the painting for 12,000 francs; Callen found no recorded selling price in the Durand-Ruel stock book, entry no. L.2585, but the asking price at the time was listed as 12,000 francs. See 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), p. 325, note 3.

See Galerie Georges Petit, Paris, Collection H.V.: Catalogue de tableaux modernes de premier ordre, pastels, aquarelles, dessins, sale cat. (Galerie Georges Petit, Feb. 1–2, 1897), p. 109, lot 79. A sale catalogue annotated with prices and names is in the Rijksbureau voor Kunsthistorische Documentatie. According to Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines 1859–1869, exh. cat. (Éditions de la Réunion des Musées Nationaux, 1994), p. 430, cat. 136 [Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), pp. 432–33, cat. 136], it was purchased by Boulley for Gustave Kahn. According to Daniel Wildenstein, Monet: Catalogue Raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), p. 49, cat. 92, it was purchased by Boulley for Georges Kohn. Agnès Lacau St. Guily (Wildenstein Institute, Paris), in an e-mail to Gloria Groom, July 27, 2011, stated that the painting was purchased by “Boulley for Georges Kohn (without confusion with French writer Gustave Kahn).” The Durand-Ruel Archives also confirm that the painting was “acheté à G. Kohn (et non pas Kahn)”; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

According to the Durand-Ruel Archives, “Acheté en compte à demi (stock 11701) par Durand-Ruel Paris et Bernheim-Jeune à Georges Kohn, Paris, le 11 juin 1920 pour 40,000 francs (prix pour la totalité du tableau), Sainte-Adresse.” Durand-Ruel, Livre de stock Paris 1921; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. This letter also clarifies that “Durand-Ruel et Bernheim-Jeune achètent ensemble à Kohn le 11 juin 1920 mais nous ne savons pas quand Durand-Ruel rachète la moitié de Bernheim-Jeune, ni à combien.”  

According to the Durand-Ruel Archives, “Vendu par Durand-Ruel New York à A. S. Coburn le 8 février 1923, Sainte-Adresse.” The price that Coburn paid for the painting is unknown. Durand-Ruel, Livre de dépôt New York 1894–1925, dépôt no. 8044; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, dated Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. See also a letter on Durand-Ruel letterhead, Mar. 18, 1932, verifying that Coburn purchased the painting from Durand-Ruel. Art Institute of Chicago Archives.

See Annie Swan Coburn's will; Walter S. Brewster to Art Institute Director Dr. Robert B. Harshe, Mar. 15, 1934; and Records of the Board of Trustees, Apr. 26, 1940, p. 24, all in the Art Institute of Chicago Archives.

According to Gary Tinterow’s entry for this painting in Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), p. 430, cat. 136 [Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), p. 433, cat. 136.]. Charles F. Stuckey and Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames and Hudson, 1995), p. 199, notes that the exhibition occurred in Apr. The gallery that Durand-Ruel rented at 168 New Bond Street, London, was known as the German Gallery; see Kenneth McConkey, “Impressionism in Britain,” in Kenneth McConkey and Anna Gruetzner Robins, Impressionism in Britain, exh. cat. (Barbican Art Gallery, 1995), p. 209, note 19.

This exhibition catalogue was reprinted in Theodore Reff, ed., Miscellaneous Group Exhibitions, Modern Art in Paris 34 (Garland Publishing, 1981), n.pag. The dates of this exhibition are unclear. Musée Rodin, Claude Monet—Auguste Rodin: Centenaire de l’exposition de 1889, exh. cat. (Musée Rodin, 1989), p. 19, reports that the exhibition was held from June 21 to Aug. 1889. In Roger Terry Dunn, “The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889” (Ph.D. diss., Northwestern University, 1978), pp. 74–76, Dunn found evidence that the exhibition lasted for three months. The dates used in the present catalogue reflect Dunn’s research and those also used in Charles F. Stuckey and Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames and Hudson, 1995), p. 218.

The exhibition catalogue lists the dates as June 1–Nov. 1, 1933, but newspaper articles confirm the exhibition opened on May 23. See India Moffett, “Art Show of 1,500 World Famous Treasures Is Opened at Institute,” Chicago Daily Tribune, May 23, 1933, p. 17; and Virginia Gardner, “Record Throng of 1,367,000 Views Art Show,” Chicago Daily Tribune, Oct. 29, 1933, p. 7.

There was no catalogue produced for the exhibition, but a typewritten checklist in the Saint Louis Art Museum Archives includes The Beach at Sainte-Adresse. Exhibition dates were published in the Bulletin of the City Art Museum of St. Louis 19, 2 (Apr. 1934), p. 27. Thanks to Clare Vasquez, public services librarian, Richardson Library, Saint Louis Art Museum, for sending this documentation. Curatorial Object File, Art Institute of Chicago.

Thanks to Nicole R. Myers, associate curator, European Painting and Sculpture, Nelson-Atkins Museum of Art, for locating the exhibition catalogue. Curatorial Object File, Art Institute of Chicago. See also William Rockhill Nelson Gallery of Art and 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.

See Art Institute of Chicago, “List of Exhibitions,” Bulletin of the Art Institute of Chicago 39, 4 (Apr.–May 1945), p. 64. See also the typewritten document “Masterpiece of the Month: Notes and Bibliography, January 1942–December 1945,” pp. 111–13. Art Institute of Chicago Archives.

See Art Institute of Chicago, “Exhibitions,” The Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 36. The original exhibition dates were Apr. 1–30, but the show was extended until June 15; see Edith Weigle, “The Wonderful World of Art,” Chicago Daily Tribune, May 26, 1957, p. E2, for an exhibition review and date extension. Although there was no exhibition catalogue, the Apr. 1957 issue of The Art Institute of Chicago Quarterly was largely dedicated to the Monet works in the Art Institute’s collection. The exhibition marked the first time the Art Institute’s thirty works by Monet were shown together in the museum.

According to a notation on the Art Institute's Museum Registration Department Artists Sheets. Registrar’s Records, Art Institute of Chicago. The exhibition at the California Palace of the Legion of Honor is mentioned in California Palace of the Legion of Honor, “Exhibitions,” Bulletin of the California Palace of the Legion of Honor 19, 9–10 (Jan.–Feb. 1962), n.pag. A typescript of the list of paintings shown at the Santa Barbara Museum of Art (Curatorial Object File, Art Institute of Chicago) includes The Beach at Sainte-Adresse. Arthur Millier, “Summer Relief: ‘Painters by the Sea,’” Los Angeles Times, Aug. 27, 1961, p. N18, illustrates the painting.

The exhibition catalogue lists the dates as June 1–Nov. 1, 1934, but newspaper articles confirm the exhibition closed on Oct. 31.  See “Fair Art Exhibition Closes Forever at 5:30 This Afternoon,” Chicago Daily Tribune, Oct. 31, 1934, p. 2; and “Shippers Start Dismantling Art Exhibition Today,” Chicago Daily Tribune, Nov. 1, 1934, p. 3.

According to Gary Tinterow’s entry for this painting in Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines 1859–1869, exh. cat. (Éditions de la Réunion des Musées Nationaux, 1994), p. 430, cat. 136 [Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), p. 433, cat. 136]. The title of the painting is not mentioned in this article.

According to Gary Tinterow’s entry for this painting in Henri Loyrette and Gary Tinterow, Impressionnisme: Les Origines 1859–1869, exh. cat. (Éditions de la Réunion des Musées Nationaux, 1994), p. 430, cat. 136 [Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art/Harry N. Abrams, 1994), p. 433, cat. 136].

The painting is not titled in the article, but it is described as “la plage de Ste-Adresse.”

Berson noted that this article is a reprint of Gustave Rivière, “Les Intransigeants de la peinture,” L’Esprit moderne (Apr. 13, 1876). The painting is not titled in the article, but it is described as “une marine avec un bateau bleu sur la plage.”

As mentioned in Daniel Wildenstein, Monet: Catalogue Raisonné, vol. 2 (Taschen/Wildenstein Institute, 1996), p. 49, cat. 92, Geffroy (p. 71) cited an 1876 article by an unknown author that mentions The Beach at Sainte-Adresse.

The English translation of this book is Camille Mauclair, Claude Monet, trans. J. Lewis May (Dodd, Mead and Company, 1924), p. 42, pl. 6.

Republished in Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1941), p. 35; and Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Art Institute of Chicago, 1945), pp. 36 (ill.), 37.  

The Beach at Sainte-Adresse is listed as pl. 62, but images do not accompany the Art Institute’s copy of this dissertation.

Republished in John Maxon, The Art Institute of Chicago (Harry N. Abrams, 1977), pp. 80 (ill.), 81; and John Maxon, The Art Institute of Chicago (Thames and Hudson, 1987), pp. 80 (ill.), 81.

The Beach at Sainte-Adresse is listed as fig. 10, but images do not accompany the Art Institute’s copy of this thesis.

Also published as John House, “Framing the Landscape,” in John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Impressions of France: Monet, Renoir, Pissarro, and Their Rivals, exh. cat. (Museum of Fine Arts, 1995), pp. 12; 15, fig. 1.

Originally published in Italian in 2003 by Rizzoli/Skira–Corriere della Sera.

The English translation of this book is Sylvie Patin, Monet: The Ultimate Impressionist, trans. Anthony Roberts (Harry N. Abrams, 1993), pp. 12–13 (detail).

The label dates to the exhibition Impressionnisme: Les Origines, 1859–1869 held at Galeries Nationales du Grand Palais, Paris, Apr. 19–Aug. 8, 1994.

The label dates to 1999 according to invoice no. 9899 from Arnold Wiggins and Sons to the Art Institute, Aug. 19, 1999; and Receipt of Object 43323, Nov. 1, 1999. Registrar's Records and Curatorial Object File, Art Institute of Chicago.

See Don Johnson, C. Richard Johnson, et al., “A Thread Counting Algorithm for Art Forensics,” Proceedings of the 13th Annual IEEE Digital Signal Processing Workshop (Jan. 2009), pp. 679–84, DSP 12.2.

See Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

Located in the Durand-Ruel Archives; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

See Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. 

See Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

Located in the Durand-Ruel Archives; see Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago.

See Paul-Louis Durand-Ruel and Flavie Durand-Ruel to the Art Institute of Chicago, Oct. 5, 2010. Curatorial Object File, Art Institute of Chicago. 

See Damon M. Conover, John K. Delaney, Paola Ricciardi, and Murray H. Loew, “Towards Automatic Registration,” Computer Vision and Image Analysis of Art II, Proceedings of SPIE 7869 (2011).