Cliff Walk at Pourville by Claude Monet at Art Institute of Chicago Museum Shop

April 27, 2022 Post a Comment

1882

Claude Monet
French, 1840-1926

In Feb 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional person pressures. His married woman, Camille, had died 3 years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would ally in 1892, later her husband'due south death). France was in the midst of a lengthy economic recession that affected Monet'southward sales. In improver, the artist was unenthusiastic almost the upcoming seventh Impressionist exhibition—divisions within the group had become pronounced by this fourth dimension—and he delegated the responsibleness for his contribution to his dealer, Paul Durand-Ruel.Disappointed in the area effectually the harbor metropolis of Dieppe, which he found likewise urban, Monet settled in Pourville and remained in this line-fishing hamlet until mid-April. He became increasingly enamored of his surroundings, writing to Hoschedé and her children: "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville.The two young women strolling in Cliff Walk at Pourville are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the trouble of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and colour. The grass—composed of short, brisk, curved brushstrokes—appears to quiver in the breeze, and subtly modified versions of the same strokes and hues propose the women's wind-whipped dresses and shawls and the undulation of the sea. Ten-radiographs evidence that Monet reduced the rocky outcropping at the far correct to balance the proportions of sea and heaven.

Status: On View, Gallery 240
Department: Painting and Sculpture of Europe

Creative person: Claude Monet
Championship: Cliff Walk at Pourville
Origin: France
Appointment: 1882
Medium: Oil on canvas
Inscriptions: Inscribed, lower right: Claude Monet 82
Dimensions: 66.5 × 82.3 cm (26 1/8 × 32 7/16 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1933.443
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Michael Clarke and Richard Thomson, Monet: The Seine and the Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), pp. 136, cat. 65 (sick.); 137.
Anne L. Cowe, "Claude Monet: A Chronology 1878–1883," in Michael Clarke and Richard Thomson, Monet: The Seine and the Body of water, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), p. 171.
Guy Cogeval et al., Édouard Vuillard, exh. cat. (National Gallery of Fine art, Washington, D.C., 2003), pp. 440, fig. 1; 441.
Debra Due north. Mancoff, Monet: Nature into Fine art (Publications International, 2003), pp. 52–54 (ill.).
Richard Thomson, "Looking to Paint: Monet 1878–1883," in Michael Clarke and Richard Thomson, Monet: The Seine and the Bounding main, 1878–1883, exh. true cat. (National Galleries of Scotland, 2003), pp. xiv–15 (detail); 31.
Robert L. Herbert et al., Seurat and the Making of "La Grande Jatte," exh. cat. (Art Found of Chicago/Academy of California Press, 2004), pp. 57; 58–59, cat. 96 (ill.); 62; 276.
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Robert L. Herbert, "Monet'due south Neo-Romantic Seascapes, 1881–1886," in Monet and French Mural: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 75.
Heather Lemonedes, Lynn Federle Orr, and David Steel, Monet in Normandy, exh. true cat. (Fine Arts Museums of San Francisco/North Carolina Museum of Art/Cleveland Museum of Art, 2006), pp. 89; 104–07, true cat. thirty (sick.), fig. 52; 158; 184.
Anna Gruetzner Robins, "'Slab of Pink and Lumps of Brown': The Disquisitional Reaction to the Exhibition of a Monet Grainstack Painting in Britain in 1893," in Monet and French Mural: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 161.
Norio Shimada, Claude Monet, Corking Masters of Western Art 1 (Shogakukan, 2006), p. 73 (ill.).
Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 93 (ill.).
Eric M. Zafran, "Monet in America," in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 127.
Caroline Durand-Ruel Godfroy, "Paul Durand-Ruel and Renoir: 47 Years of Friendship," in Sounjou Seo et al., Renoir: Hope of Happiness, exh. true cat. (Seoul Museum of Art, 2009), pp. 163 (sick.), 165 (sick.).
Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 181 (sick.).
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, rev. and expanded ed. (Art Institute of Chicago/Yale University Printing, 2010; repr. 2013), p. 118, true cat. 57 (ill.).
Ségolène Le Men, Monet (Citadelles & Mazenod, 2010), pp. 226–27, ill. 184; 229; 235.
Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d'Orsay, 2010), p. 184, true cat. 62 (ill.).
Richard Thomson, "La côte normande dans les années 1880," in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d'Orsay, 2010), p. 176.
Hendrik Ziegler, "Produktive Begegnungen: Die Weimarer Malerschule und der französische Impressionismus," in Klassik Stiftung Weimar, Hinaus in dice Natur!: Barbizon, die Weimarer Malerschule und der Aufbruch zum Impressionismus, ed. Gerda Wendermann, exh. true cat. (Kerber, 2010), p. 228.
Stephen Shore, "Form and Pressure," Aperture 205 (Winter 2001), p. 46 (ill.), 47.
Claire Maingon, "Le néo-impressionnisme: Reflet ou anti-reflet de l'impressionnisme?," in Réunion des Musées Nationaux, Eblouissants reflets: Cent chefs-d'oeuvre impressionnistes (Réunion des Musées Nationaux/Musées de la Ville de Rouen, 2013), pp. 59, fig. 38; 60.
"Cat. nineteen: Cliff Walk at Pourville, 1882" in Monet Paintings and Drawings at the Fine art Establish of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/department/135470.
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Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Fine art Institute, 2020), 65 true cat. 29, 133.

Paris, Galeries Durand-Ruel, Exposition des oeuvres de Claude Monet, Mar. ane–25, 1883, cat. xx, as Promenade sur la Falaise. Appartenant à One thousand. Hayes.
London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of "La Société des Impressionnistes," Apr.–July 1883, cat. 32, as Promenade sur la falaise.
Possibly Weimar, Permanenten Ausstellung für Kunst und Kunstgewerbe, c. June ane–c. Dec. 12, 1890, as Strand von Pourville.
Brussels, Libre Esthétique, Exposition des peintres Impressionnistes, February. 25–Mar. 29, 1904, cat. 109, equally Falaises de Dieppe. Appartient à M. Durand-Ruel.
London, Grafton Galleries, Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley Exhibited by Messrs. Durand-Ruel & Sons, of Paris, at the Grafton Galleries, viii Grafton Street, London, Jan.–Feb. 1905, cat. 157, as The Walk on the Cliffs. 1882.
Manchester Urban center Art Gallery, Exhibition of Modernistic French Paintings, Winter 1907–08, true cat. 78, as The Cliffs, Pourville (1882).
Paris, Durand-Ruel, Exposition de paysages par Claude Monet et Renoir, May 18–June 6, 1908, cat. 33, as Promenade sur la falaise—1882.
Paris, Galeries Durand-Ruel, Tableaux par Claude Monet, Mar. ii–28, 1914, true cat. thirty, every bit Promenade sur la falaise. 1882.
Art Establish of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, April. 6–October. 9, 1932, cat. 22 (ill.).
Art Institute of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture, May 23–November. 1, 1933, cat. 295.
Art Plant of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 214.
Art Institute of Chicago, The Paintings of Claude Monet, April. one–June 15, 1957, no cat.
Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 55 (sick.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, true cat. 12 (ill.).
Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. xvi, 1984, cat. 117 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d'Exposition du Grand Palais, as L'impressionnisme et le paysage français, February. 4–Apr. 22, 1985.
Canberra, National Gallery of Commonwealth of australia, Monet and Japan, Mar. 9–June 11, 2001, cat. 13 (ill.); Perth, Art Gallery of Western Australia, July 7–Sept. 16, 2001.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, loan exchange, Oct. 12, 2001–June 12, 2002.
Edinburgh, Majestic Scottish Academy, Monet: The Seine and the Sea, 1878–1883, Aug. 6–Oct. 26, 2003, cat. 65 (ill.).
Art Plant of Chicago, Seurat and the Making of "La Grande Jatte," June 19–Sept. xix, 2004, cat. 96 (sick.).
Fine Arts Museums of San Francisco, Monet in Normandy, June 17–Sept. 17, 2006, cat. 30 (ill.); Raleigh, Northward Carolina Museum of Art, Oct. 15, 2006–Jan. xiv, 2007; Cleveland Museum of Art, Feb. xviii–May 20, 2007.
Paris, Galeries Nationales du Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–Jan. 24, 2011, cat. 62 (ill.).
Treviso, Museo di Santa Caterina, Storie dell'Impressionismo, October 29, 2016-April 17, 2017, cat. 125.
Art Institute of Chicago, Monet and Chicago, September 5, 2020-June fourteen, 2021, cat. 29.

Hayes, past Mar. 1, 1883 [per Galeries Durand-Ruel 1883]. Hermann Kapferer, Paris, by July 17, 1888 [per Durand-Ruel, Paris, stock volume for 1888 (no. 1687), equally confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file. Wildenstein 1996 does not include Hermann Kapferer in the painting'south provenance and claims that Durand-Ruel purchased the painting from Monet in October 1882; the Durand-Ruel Archives are unable to support this claim]; sold to Durand-Ruel, Paris, July 17, 1888, for 1,200 francs [per Durand-Ruel, Paris, stock book for 1888 (no. 1687), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Athenaeum, to the Fine art Plant of Chicago, Oct. 5, 2010, curatorial object file. Wildenstein 1996) does not include this in the provenance]; possibly sold to Annie Swan Coburn (d. 1932), Chicago, by Apr. 26, 1928 [per Art Institute of Chicago exh. cat. 1932. There is a notation on the Fine art Constitute'south Museum Registration Department Artists Sheets that reads, "Durand-Ruel 995 four/26/28," and one on receipt 5300 that states "P995 D-R Ap '26." This sale cannot be confirmed with the Durand-Ruel Archives, Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, October. 5, 2010, curatorial object file]; bequeathed to the Fine art Institute of Chicago, 1933.

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