St. Adresse EXAMPLE

Catalogue #: 4 Active: No Work Title: Sold to Durand-Ruel, Paris, Feb. 28, 1873, for 400 fr. Probably sold to Jean-Baptiste Faure, Paris, by 1876. Sold to Durand-Ruel, Paris, Jan. 9, 1893, for 7,000 fr. Sold to Henri Véver, Paris, Jan. 17, 1893, for 8,000 fr. 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. Sold jointly to Durand-Ruel, Paris, and Bernheim-Jeune, Paris, June 11, 1920, for 40,000 fr. Tombstone:

The Beach at Sainte-Adresse1

1867

Oil on canvas

75.8 x 102.5 cm (29 13/16 x 40 5/16 in.)   

Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.439

Technical Report:

 

Technical Summary:

 

Renoir’s Lunch at the Restaurant Fournaise (The Rowers’ Lunch) was painted in several wet-in-wet campaigns and contains a number of compositional changes. The artist began with a commercially primed standard portrait no. 15 canvas turned on its side, onto which he likely added a selective preparatory layer covering specific parts of the compositional area.2 This selective layer incorporates added oil medium and a warmer hue, which, allowed for minimum absorption of subsequent paint layers and provided a warm background off which the artist could play the cool colors of the background and water.

 

There are significant compositional changes in the left half of the composition. X-ray and raking light images suggest that in an earlier version of the painting, there was a figure situated in the space between the two individuals at left in the final composition. Summary underdrawing lines in a dry medium may be related to this figure’s head; additional lines seem to indicate the left side of the trellis opening and the outer curve of the far left visible figure’s leg, however the nature of these lines is rather intermittent and haphazard. It seems the left side of the original composition featured only this single figure painted in profile. Heavy brushwork under the far-left visible figure suggests additional changes before the artist executed the forward-facing male figure. 

Provenance:

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

Probably sold to Jean-Baptiste Faure, Paris, by 1876.

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

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

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.

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

Exhibitions:

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

Probably sold to Jean-Baptiste Faure, Paris, by 1876.

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

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

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.

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

Selected References:

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

Probably sold to Jean-Baptiste Faure, Paris, by 1876.

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

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

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.

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

Other Documentation:

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

Probably sold to Jean-Baptiste Faure, Paris, by 1876.

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

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

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.

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

Footnotes:

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.

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 and 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. 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.

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 and 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. 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, 1996), nos. 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, 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.

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 and 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. 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, 1996), nos. 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, 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.

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 and 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. 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, 1996), nos. 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, 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.

The presence of this additional layer is visible in the X-ray and stereomicroscopic examination, but cannot be confirmed by cross-sectional analysis and therefore is likely not an overall layer.