In the summer of 1867, Claude Monet stayed with his aunt at Sainte-Adresse, an affluent suburb of the port city Le Havre in northern France. The artist was familiar with the landscape, having grown up in the area, but the region changed signi\ufb01cantly during his lifetime. The expansion of the country\u2019s rail network turned this small, rural \ufb01shing village into a seaside resort for tourists. Here, Monet hinted at this transformation. The viewer is immediately drawn to the visible aspects of local life\u2014dark-sailed fishing boats drift in the water, with groups of \ufb01shermen, their equipment, and other craft on the shore. The beached boats frame two \ufb01gures sitting on the shoreline, highlighted by a few strokes of red and yellow paint: a man in a dark hat and suit looks through a telescope, accompanied by a woman wearing a straw hat with a scarlet ribbon. The presence of this couple\u2014undoubtedly vacationers, given their fashionable attire\u2014changes what might have been a traditional coastal scene into a painting of modern life, one of the artist\u2019s \ufb01rst explorations of tourism.<\/p>\n
Monet began this painting outdoors and revised it later in his studio. Conservation research has revealed that he changed his mind about the composition while he worked: he initially included other tourist \ufb01gures and yachts in the scene but later painted over these details, shifting his focus to the \ufb01shermen, the aspect of life in Sainte-Adresse that he knew best.<\/p>\n
Monet\u2019s seascapes from this summer are markedly different from those painted only a few years earlier, and Beach at Sainte-Adresse<\/em> exempli\ufb01es his evolving painting technique. It also foreshadows some of the qualities that became characteristic of the Impressionist movement, which is perhaps why Monet chose to show it at the second Impressionist exhibition in 1876, nearly ten years after he painted it.<\/p>\n","short_description":"In 1867 Monet stayed with his aunt in Sainte-Adresse, a suburb of the port city of Le Havre in Normandy, where the artist grew up. Monet began the painting outdoors but likely revised it in his studio. Technical analysis of the work revealed that it started as a beach scene of yachts and tourists but ultimately became a view of sailboats and local fishermen.","dimensions":"75.8 \u00d7 102.5 cm (29 13\/16 \u00d7 40 5\/16 in.); Framed: 104.1 \u00d7 130.2 \u00d7 11.4 cm (41 \u00d7 51 1\/2 \u00d7 4 1\/2 in.)","dimensions_detail":[{"depth":null,"width":102,"height":75,"diameter":null,"clarification":null},{"depth":11,"width":130,"height":104,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower right: Claude Monet 67","credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":" Wildenstein, Claude Monet, biographie et catalogue raisonn\u00e9, 1979 92<\/p>","publication_history":"Possibly \u201cNotice of the Exhibition of the Society of French Artists, New Bond Street,\u201d Times, Apr. 27, 1874. Reprinted in Kate Flint, ed., Impressionists in England: The Critical Reception (Routledge and Kegan Paul, 1984), p. 35. \n\nPossibly Durand-Ruel, London, Eighth Exhibition of the Society of French Artists, exh. cat. (Durand-Ruel, 1874), p. 11, cat. 142. \n\nMarius Chaumelin, \u201cActualit\u00e9s: L\u2019exposition des intransigeants,\u201d La gazette des \u00e9trangers, Apr. 8, 1876, pp. 1\u20132. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1,Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), p. 67.\n\nCatalogue de la 2e exposition de peinture [second Impressionist exhibition], exh. cat. (Alcan-L\u00e9vy, 1876), cat. 151.\n\nEmile Bl\u00e9mont, \u201cLes impressionnistes,\u201d Le rappel, Apr. 9, 1876, pp. 2\u20133. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), p. 63.\n\nArthur Baigni\u00e8res, \u201cExposition de peinture par un groupe d\u2019artistes, rue Le Peletier, II,\u201d L\u2019\u00e9cho universel, Apr. 13, 1876, p. 3. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), p. 55. \n\nPierre Dax, \u201cChronique,\u201d L\u2019artiste, May 1, 1876, p. 348. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), p. 70.\n\nCatalogue de la 2e exposition de peinture, exh. cat. (Alcan-L\u00e9vy, 1876), p. 15, cat. 151.\n\nGalerie Georges Petit, Claude Monet; A. Rodin, exh. cat. (Imp. de l\u2019Art, 1889), p. 27, cat. 5. Reprinted in Theodore Reff, ed., Miscellaneous Group Exhibitions, Modern Art in Paris 34 (Garland, 1981), n.pag.\n\nGalerie Georges Petit, Paris, Collection H. V.: Catalogue de tableaux modernes de premier ordre, pastels, aquarelles, dessins, sale cat. (Galerie Georges Petit, Feb. 1\u20132, 1897), p. 109, lot 79.\n\nGustave Geffroy, \u201cClaude Monet,\u201d L\u2019art et les artistes 2, 11 (Nov. 1920), p. 64 (ill.).\n\nGustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Cr\u00e8s, 1922), pp. opp. 40 (ill.), 59, 62, 71, 118, 262. \n\nCamille Mauclair, Claude Monet (F. Rieder, 1924), p. 36, pl. 6. Translated by J. Lewis May as Claude Monet (Dodd, Mead, 1924), p. 42, pl. 6.\n\nXenia Lathom, Claude Monet (Philip Allan, 1931), p. 47, pl. 6.\n\nEleanor Jewett, \u201cNoted Private Art Collection on Exhibition,\u201d Chicago Daily Tribune, Apr. 6, 1932, p. 19 (ill.).\n\n\u201cMasterpieces of the French Impressionists from the Collection of Mrs. L. L. Coburn Being Exhibited for the First Time at the Art Institute of Chicago,\u201d Fine Arts 19, 1 (June 1932), p. 22 (ill.).\n\nDaniel Catton Rich, \u201cThe Bequest of Mrs. L. L. Coburn,\u201d Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), pp. 66, 67 (ill.), 68.\n\n\u201cAnnie S. Coburn Estate Is Given $888,982 Value,\u201d Chicago Daily Tribune, Nov. 19, 1932, p. 16.\n\nArt 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.\n\nDaniel Catton Rich, \u201cThe Mrs. L. L. Coburn Collection,\u201d 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.\n\nArt Institute of Chicago, Bulletin of the Art Institute of Chicago: Report for the Year Nineteen Hundred Thirty-Two 27, 3 (Mar. 1933), p. 24 (ill.).\n\nArt Institute of Chicago, Catalogue of \u201cA Century of Progress\u201d: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 43, cat. 292.\n\nRoger Brielle, \u201cLe visage de la France vu par nos artistes: III. La Normandie,\u201d L\u2019art et les artistes 28, 143 (Jan. 1934), p. 129 (ill.).\n\nArt Institute of Chicago, Catalogue of \u201cA Century of Progress\u201d: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), pp. 36\u201337, cat. 210.\n\nToledo Museum of Art, Catalogue: French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1934), n.pag., cat. 8 (paintings).\n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28. \n\nWilliam Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, \u201cExhibition of French Impressionist Landscape Paintings,\u201d William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts News Flashes 3, 2 (Dec. 1, 1936), p. 2.\n\nWilliam 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.\n\nLionello Venturi, Les archives de l\u2019impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; M\u00e9moires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 257.\n\nArt Institute of Chicago, \u201cList of Exhibitions,\u201d Bulletin of the Art Institute of Chicago 39, 4 (Apr.\u2013May 1945), p. 64.\n\nJohn Rewald, The History of Impressionism (Museum of Modern Art\/Simon & Schuster, 1946), p. 137 (ill.).\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1948), p. 34.\n\nOscar Reutersw\u00e4rd, Monet: En konstn\u00e4rshistorik (Bonniers, 1948), p. 281. \n\nArt Institute of Chicago, \u201cNotes,\u201d Bulletin of the Art Institute of Chicago 34, 1 (Feb. 1949), p. 15.\n\nKenneth Clark, Landscape into Art (John Murray, 1949), pp. xiii; 88, pl. 81. \n\nDaniel Catton Rich, \u201cMidwest Art Capital,\u201d Town and Country 105 (Mar. 1951), p. 75 (ill.).\n\nKunsthaus Z\u00fcrich, Claude Monet: 1840\u20131926, with a foreword by Georges Besson and Ren\u00e9 Wehrli, exh. cat. (Kunsthaus Z\u00fcrich, 1952), pl. 4; p. 19, cat. 11.\n\nHaags Gemeentemuseum, Claude Monet, with an introduction by George Besson, exh. cat. (Gemeentemuseum, 1952), cat. 9 (ill.).\n\nMeyer Schapiro, Paul Cezanne (Abrams, 1952), pp. 11 (ill.), 12.\n\nDaniel Wildenstein, Claude Monet, exh. cat. (Galerie Beaux-Arts, 1952), pp. 14, cat. 8 (ill.); 59.\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1956), p. 34.\n\nArt Institute of Chicago, \u201cHomage to Claude Monet,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), pp. 22 (ill.), 24.\n\nArt Institute of Chicago, \u201cChronology,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 28.\n\nArt Institute of Chicago, \u201cCatalogue,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33\n\nArt Institute of Chicago, \u201cExhibitions,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 36.\n\nClaude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), p. 45, cat. 4 (ill.).\n\nWilliam C. Seitz, \u201cClaude Monet\u2019s View of Nature,\u201d in Claude Monet: A Loan Exhibition, exh. cat. (Minneapolis Society of the Fine Arts, 1957), pp. 16, 21, 24.\n\nDenis Rouart, Claude Monet, trans. James Emmons (Skira, 1958), p. 38 (ill.).\n\nWilliam C. Seitz, Claude Monet (Abrams, 1960), pp. 74, 75 (ill.).\n\nArthur Millier, \u201cSummer Relief: \u2018Painters by the Sea,\u2019\u201d Los Angeles Times, Aug. 27, 1961, p. N18 (ill.).\n\nArt 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. \n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84, 55 (Sept. 1966), pp. 201, fig. 32; 202\u201303.\n\nJoel Isaacson, \u201cThe Early Paintings of Claude Monet\u201d (Ph.D. diss., University of California, Berkeley, 1967), pp. xii, 183\u201384, 185. \n\nEdward Barry, \u201cThe Institute That Art Built,\u201d Chicago Tribune, Mar. 2, 1969, p. 84.\n\nCharles C. Cunningham and Satoshi Takahashi, Shikago Bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), p. 55, cat. 41 (ill.); 160\u201361.\n\nJohn Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 80 (ill.), 81. \n\nAnthea Callen, \u201cJean-Baptiste Faure, 1830\u20131914: A Study of a Patron and Collector of the Impressionists and Their Contemporaries with a Catalogue of His Collection\u201d (M.A. thesis, University of Leicester, 1971), pp. 28; 325\u201326, cat. 437. \n\nGerald Needham, \u201cThe Paintings of Claude Monet, 1859\u20131878\u201d (Ph.D. diss., Institute of Fine Arts, New York University, 1971), pp. 88\u201389; 154\u201357; fig. 42.\n\nDenis Rouart, \u201cApparences et reflets,\u201d in Denis Rouart and Jean-Dominique Rey, Monet, nymph\u00e9as, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 40. \n\nKermit Swiler Champa, Studies in Early Impressionism (Yale University Press, 1973), pp. 19; 20, fig. 26.\n\nDaniel Wildenstein, Claude Monet: Biographie et catalogue raisonn\u00e9, vol. 1, Peintures, 1840\u20131881 (Biblioth\u00e8que des Arts, 1974), pp. 38; 162; 163, cat. 92 (ill.).\n\nM. Therese Southgate, \u201cAbout the Cover,\u201d JAMA: The Journal of the American Medical Association 232, 4 (Apr. 28, 1975), cover (ill.); p. 340 (ill.).\n\nM. Therese Southgate, \u201cAbout the Cover,\u201d JAMA: The Journal of the American Medical Association 233, 3 (July 21, 1975), p. 259.\n\nHorst Keller, Die Kunst der franz\u00f6sischen Impressionisten (Herder, 1975), pp. 54; 128\u201329, pl. 80; 269.\n\nMike Samuels and Nancy Samuels, Seeing with the Mind\u2019s Eye: The History, Techniques, and Uses of Visualization (Random House, 1975), p. 70 (ill.).\n\nGrace Seiberling, \u201cThe Evolution of an Impressionist,\u201d in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 30.\n\nSusan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 64, cat. 10 (ill.).\n\nCharles C. Cunningham, Susan D. Peters, and Kathleen Zimmerer, Jongkind and the Pre-Impressionists: Painters of the Ecole Saint-Sim\u00e9on, exh. cat. (Sterling and Francine Clark Art Institute, 1977), pp. 23; 134, cat. 90 (ill.); 135.\n\nArt Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 22; 90\u201391, fig. 48.\n\nLuigina Rossi Bortolatto, L\u2019opera completa di Claude Monet, 1870\u20131889, Classici dell\u2019arte 63 (Rizzoli, 1972), pp. 89, cat. 19 (ill.); 90.\n\nRoger Terry Dunn, \u201cThe Monet-Rodin Exhibition at the Galerie Georges Petit in 1889\u201d (Ph.D. diss., Northwestern University, 1978), pp. 78, 246.\n\nGa\u00ebtan Picon, The Birth of Modern Painting (Skira, 1978), pp. 62\u201363 (ill.), 118.\n\nJ. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 52\u201353 (ill.).\n\nJ. Patrice Marandel, \u201cNew Installation of Earlier Paintings,\u201d Bulletin of the Art Institute of Chicago 73, 1 (Jan.\u2013Feb. 1979), p. 15 (ill.).\n\nBrian Petrie, Claude Monet: The First of the Impressionists (Phaidon, 1979), pp. 31\u201332, pl. 26; 33.\n\nH\u00e9l\u00e8ne Adh\u00e9mar, Anne Distel, and Sylvie Gache, Hommage \u00e0 Claude Monet (1840\u20131926), exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1980), pp. 80; 82, cat. 16 bis (ill.).\n\nDiane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 182 (ill.), 437.\n\nMus\u00e9e Toulouse-Lautrec and Art Institute of Chicago, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, exh. cat. (Mus\u00e9e Toulouse-Lautrec, 1980), pp. 31, no. 9 (ill.); 67.\n\nAndrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 364.\n\nSylvie Gache-Patin, \u201cPrivate and Public Gardens,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), p. 217.\n\nSylvie Gache-Patin and Scott Schaefer, \u201cImpressionism and the Sea,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), p. 276.\n\nScott Schaefer, \u201cThe French Landscape Sensibility,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 58; 62; 66; 69, no. 6 (ill.).\n\nScott Schaefer, \u201cL\u2019\u00e9vasion loin de Paris,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), p. 342.\n\nScott Schaefer, \u201cThe Retreat from Paris,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), p. 312.\n\nSylvie Gache-Patin, \u201cJardins priv\u00e9s et jardins publics,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), p. 222.\n\nSylvie Gache-Patin and Scott Schaefer, \u201cLa mer,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), p. 295.\n\nScott Schaefer, \u201cLe paysage dans la peinture fran\u00e7aise au cours des ann\u00e9es 1860,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), pp. 46; 48; 54\u201355, no. 6 (ill.).\n\nRichard Shiff, C\u00e9zanne 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\u201311, fig. 21; 116.\n\nJohn House, \u201cMonet and the Genesis of His Series,\u201d in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery\/NZI, 1985), pp. 12; 13, fig. 3.\n\nHollis Clayson, \u201cA Failed Attempt,\u201d in The New Painting: Impressionism, 1874\u20131886, ed. Charles S. Moffett, exh. cat. (Fine Arts Museums of San Francisco, 1986), p. 147.\n\nCharles S. Moffett, ed., The New Painting: Impressionism, 1874\u20131886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 162; 163; 180, cat. 31 (ill.).\n\nRichard R. Brettell, French Impressionists (Art Institute of Chicago\/Abrams, 1987), pp. 10 (detail), 11, 12 (ill.), 118.\n\nDouglas Skeggs, River of Light: Monet\u2019s Impressions of the Seine (Victor Gollancz, 1987), pp. 37, 39 (ill.).\n\nRobert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), pp. 264\u201365, pl. 267 (detail); 265; 284; 289, pl. 295; 290; 292; 296.\n\nMinistry of Culture; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX\u2013nachala XX veka, iz Muzeia Metropoliten v N\u2019iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French Painting of the Nineteenth to the Beginning of the Twentieth Century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), pp. 76\u201377, cat. 27 (ill.).\n\nFrancesco Arcangeli, Monet (Nuova Alfa, 1989), pp. 29\u201330; 82, fig. 8.\n\nMichael Howard, Monet (Brompton, 1989), p. 50 (ill.).\n\nRichard Kendall, ed., Monet by Himself: Paintings, Drawings, Pastels, Letters, trans. Bridget Strevens Romer (Macdonald Orbis, 1989), pp. 43 (ill.), 317.\n\nMus\u00e9e Rodin, Claude Monet; Auguste Rodin: Centenaire de l\u2019exposition de 1889, exh. cat. (Mus\u00e9e Rodin, 1989), pp. 53, 74 (ill.).\n\nJacques Vilain, \u201cLes d\u00e9buts (1840\u20131870),\u201d in Mus\u00e9e Rodin, Claude Monet; Auguste Rodin: Centenaire de l\u2019exposition de 1889, exh. cat. (Mus\u00e9e Rodin, 1989), p. 111.\n\nAlvin Martin and Judi Freeman, \u201cThe Distant Cousins in Normandy: Braque, Dufy, and Friesz,\u201d in Judi Freeman, The Fauve Landscape, exh. cat. (Los Angeles County Museum of Art\/Abbeville, 1990), p. 226, pl. 237.\n\nDenis Rouart, Monet (Nathan, 1990), p. 23 (ill.).\n\nKarin Sagner-D\u00fcchting, Claude Monet, 1840\u20131926: Ein Fest f\u00fcr die Augen (Benedikt Taschen, 1990), pp. 36\u201337 (ill.), 38. Translated by Karen Williams as Claude Monet, 1840\u20131926: A Feast for the Eyes (Taschen, 2004), pp. 36\u201337 (ill.), 38.\n\nJohn Russell Taylor, Impressionist Dreams: The Artists and the World They Painted (Barrie & Jenkins, 1990), p. 59 (ill.).\n\nStanley David Gedzelman, \u201cWeather Forecasts in Art,\u201d Leonardo 24, 4 (1991), pp. 446; 447, fig. 6.\n\nStanley David Gedzelman, \u201cThe Sky in Art,\u201d Weatherwise 44, 6 (Dec. 1991\/Jan. 1992), pp. 10 (ill), 11, 12.\n\nNorma Broude, Impressionism: A Feminist Reading (Rizzoli, 1991), pp. 24; 93, pl. 13.\n\nCharles S. Moffett, \u201cSainte-Adresse,\u201d 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, Washington, D.C., 1991), p. 154.\n\nHermann Bauer, Hubert Burda, and Christa Maar, eds., \u201cImpressionismus: Spurensuche f\u00fcr die Jahrhundertwende,\u201d special issue, Pan 1 (1992), p. 4 (ill.).\n\nSophie Fourny-Darg\u00e8re, Monet, Profils de l\u2019art (Ch\u00eane, 1992), pp. 148, fig. 13; 156.\n\nSylvie Patin, Monet: \u201cUn oeil . . . mais, bon Dieu, quel oeil!\u201d (Gallimard\/R\u00e9union des Mus\u00e9es Nationaux, 1991), pp. 12\u201313 (detail). Translated by Anthony Roberts as Monet: The Ultimate Impressionist (Abrams, 1993), pp. 12\u201313 (detail).\n\nDaniel Wildenstein, Claude Monet: Catalogue raisonn\u00e9, vol. 5, Suppl\u00e9ment aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 23, cat. 92.\n\nVirginia Spate, Claude Monet: Life and Work (Rizzoli, 1992), pp. 46\u201347, ill. 43, 48, 115, 117, 154.\n\nArt Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago\/Abbeville, 1993), p. 50 (ill.).\n\nRobert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867\u20131886 (Yale University Press, 1994), pp. ii (detail); 10; 11; 12, fig. 13.\n\nHenri Lallemand, Monet: Impressions of Light (Todtri, 1994), pp. 23, 39 (ill.).\n\nSteven Z. Levine, Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self (University of Chicago Press, 1994), pp. 30; 33, fig. 28; 93; 116.\n\nHenri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859\u20131869, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 296; 322; 430, fig. 88 (cat. 136).\n\nNancy Nunhead, Claude Monet (Barnes & Noble\/Brompton, 1994), p. 34 (ill.).\n\nDenis Thomas, Monet on Location (Regency House, 1994), pp. 2\u20133 (detail), 10\u201311 (ill.), 12.\n\nGary Tinterow, \u201cLe paysage r\u00e9aliste,\u201d in Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859\u20131869, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 66; 67, fig. 88 (cat. 136), translated as Gary Tinterow, \u201cThe Realist Landscape,\u201d in Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York\/Abrams, 1994), pp. 66; 67, fig. 88 (cat. 136).\n\nGary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York\/Abrams, 1994), pp. 296; 322; 432, fig. 88 (cat. 136); 433.\n\nGrace Seiberling, \u201cMonet\u2019s Hauling a Boat, Honfleur,\u201d Porticus: Journal of the Memorial Art Gallery of the University of Rochester 17\u201319 (1994\u201396), pp. 42; 43, fig. 4.\n\nAndrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 9\u201310; 12\u201313; 28\u201329; 73, pl. 2; 106.\n\nJohn House, \u201cFraming the Landscape,\u201d 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. \n\nCharles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840\u20131926, exh. cat. (Art Institute of Chicago\/Thames & Hudson, 1995), pp. 34, cat. 12 (ill.); 201; 218.\n\nJohn Russell Taylor, Claude Monet: Impressions of France from Le Havre to Giverny (Collins & Brown, 1995), pp. 22\u201323 (detail).\n\nPaul Hayes Tucker, Claude Monet: Life and Art (Yale University Press, 1995), pp. 26\u201327, pl. 36.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), pp. 50, 55, 63, 67, 70.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), pp. 40, cat. II\u2013151; 57 (ill.); 289.\n\nJohn House, \u201cThe View from Le Havre: Painters and the Seine Estuary,\u201d in Boudin to Dufy: Impressionist and Other Masters from the Mus\u00e9e des Beaux-Arts, Le Havre, exh. cat. (Scolar Press\/Hove Museum and Art Gallery\/Southampton City Art Gallery, 1996), p. 20, fig. 8.\n\nDaniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen\/Wildenstein Institute, 1996), p. 68.\n\nDaniel Wildenstein, Monet: Catalogue raisonn\u00e9\/Werkverzeichnis, vol. 2, Nos. 1\u2013968 (Taschen\/Wildenstein Institute, 1996), p. 49, cat. 92 (ill.).\n\nAnne-Marie Bergeret-Gourbin, Monet: La Normandie (Herscher, 1997), p. 22 (ill.).\n\nMeyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 69\u201370, fig. 20.\n\nM. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), p. 8 (ill.).\n\nDianne W. Pitman, \u201cOverlapping Frames,\u201d in Monet and Bazille: A Collaboration, ed. David A. Brenneman, exh. cat. (High Museum of Art\/Abrams, 1998), pp. 53; 55, fig. 26.\n\nPhaedra Siebert, chronology in Monet and Bazille: A Collaboration, ed. David A. Brenneman, exh. cat. (High Museum of Art\/Abrams, 1998), p. 99.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 1999), p. 50 (ill.).\n\nArt Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 2000), p. 32 (ill.).\n\nBelinda Thomson, Impressionism: Origins, Practice, Reception (Thames & Hudson, 2000), pp. 99, ill. 92; 266.\n\nKarl F. Nordstrom and Nancy L. Jackson, \u201cUsing Paintings for Problem-Solving and Teaching Physical Geography: Examples from a Course in Coastal Management,\u201d Journal of Geography 100, 5 (Sept.\u2013Oct. 2001), pp. 143; 144, fig. 3; 145; 146.\n\nMaria Teresa Benedetti, Monet: I luoghi (Giunti, 2001), p. 6 (ill.).\n\nNorio Shimada and Keiko Sakagami, Kur\u014ddo Mone meigash\u016b: Hikari to kaze no kiseki [Claude Monet: 1881\u20131926] (Nihon Bijutsu Ky\u014diku Sent\u0101, 2001), vol. 1, p. 37, no. 16 (ill.); vol. 2, p. 184.\n\nRichard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 1 (Teaching Co., 2002), pp. 61, 63, 71.\n\nMar\u00eda Escribano, Juan P\u00e9rez de Ayala, and \u00d3scar Alonso Molina, La marina (Carroggio, 2002), pp. 75, 76 (ill.).\n\nSylvie Patin, L\u2019impressionnisme (Biblioth\u00e8que des Arts, 2002), p. 27.\n\nJohn House, \u201cThe Viewer on the Beach,\u201d in Soil and Stone: Impressionism, Urbanism, Environment, ed. Frances Fowle and Richard Thomson (Ashgate, 2003), pp. 8; 9, fig. 1.2.\n\nJohn Leighton, \u201cClaude Monet,\u201d in Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 203\u201304.\n\nJuliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 215, pl. 97; 258.\n\nJohn Leighton, Edouard Manet: Impressions of the Sea (Van Gogh Museum, 2004), pp. 47; 50, fig. 44.\n\nNorio Shimada, Inshoha bijutsukan [The history of Impressionism] (Shogakukan, 2004), p. 76 (ill.).\n\nVanessa Gavioli, ed., Monet, Art Classics (Rizzoli, 2005), pp. 72\u201373 (ill.), 180 (ill.).\n \nRoberto Tassi, \u201cMonet\u2019s Studio,\u201d in Monet, ed. Vanessa Gavioli, Art Classics (Rizzoli, 2005), pp. 10\u201311 (detail).\n\nRichard 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.\n\nHeather 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.\n\nNorio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 33 (ill.).\n\nJoseph Baillio and Cora Michael, \u201cHighlights of the Exhibition,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 185, 214.\n\nJohn House, \u201cRepresenting the Beach: The View from Paris,\u201d in John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts\/Thames & Hudson\/Abrams, 2007), p. 23.\n\nJohn House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, London\/Thames & Hudson\/Abrams, 2007), pp. 2\u20134 (detail); 75; 76, cat. 32 (ill.); 125; 128; 130, cat. 32 (ill.); 131; 132.\n\nGary Tinterow, \u201cRegatta at Sainte-Adresse,\u201d in Masterpieces of European Painting, 1800\u20131920, in The Metropolitan Museum of Art (Metropolitan Museum of Art, New York\/Yale University Press, 2007), p. 136.\n\nPaul Hayes Tucker, \u201cSome Notes on Monet\u2019s Practice,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 73, fig. 8; 74.\n\nEric M. Zafran, \u201cMonet in America,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 127.\n\nArt Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 213 (ill.).\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago\/Yale University Press, 2009), p. 50 (ill.).\n\nSusie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 109.\n\nJoseph Baillio, \u201cMonet \u00e0 Sainte-Adresse en 1867,\u201d in R\u00e9union des Mus\u00e9es Nationaux, Claude Monet, 1840\u20131926, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Mus\u00e9e d\u2019Orsay, 2010), pp. 49, 54.\n\nPascal Bonafoux, Monet, peintre de l\u2019eau (Ch\u00eane\/Hachette, 2010), pp. 38 (ill.), 172.\n\nMary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist\u2019s Life (University of Chicago Press, 2010), pp. 70, fig. 4.4; 82.\n\nGloria 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 Press, 2010; repr. 2012), p. 52, cat. 16 (ill.).\n\nJohn House, \u201cSocial Reality versus the Thrall of Convention: The French Nineteenth Century Landscape,\u201d in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira\/Rizzoli, 2010), p. 37.\n\nJohn House, \u201cLe sujet chez Monet,\u201d in R\u00e9union des Mus\u00e9es Nationaux, Claude Monet, 1840\u20131926, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Mus\u00e9e d\u2019Orsay, 2010), pp. 21, 27.\n\nR\u00e9union des Mus\u00e9es Nationaux, Claude Monet, 1840\u20131926, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Mus\u00e9e d\u2019Orsay, 2010), pp. 110, cat. 16 (ill.).\n\nMichael F. Zimmerman, \u201cRadical Alienation\u2014Radical Involvement: A Brief History of Subjectivity and Landscape up to Impressionism,\u201d in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira\/Rizzoli, 2010), pp. 114; 115, fig. 7.\n\nSimon Kelly, \u201cRegatta at Sainte-Adresse,\u201d in Simon Kelly and April M. Watson with Maura Coughlin and Neil McWilliam, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (Saint Louis Art Museum\/Nelson-Atkins Museum of Art, 2013), pp. 276; 277, fig. 78.\n\nApril M. Watson, \u201cBrig upon the Water,\u201d in Simon Kelly and April M. Watson with Maura Coughlin and Neil McWilliam, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (Saint Louis Art Museum\/Nelson-Atkins Museum of Art, 2013), p. 270.\n\n\u201cCat. 13: The Beach at Sainte-Adresse, 1867,\u201d in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https:\/\/publications.artic.edu\/monet\/reader\/paintingsanddrawings\/section\/135470<\/a>. \n\nMuseo Nacional Thyssen-Bornemisza, Monet\/ Boudin, exh. cat. (Fundaci\u00f3n Colecci\u00f3n Thyssen-Bornemisza, 2018), pp. 65, 130-131, 269, cat. 26 (ill). \n\nGloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 20, 24, 26, 31, 47 cat. 14, 130.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 65 (ill.).","exhibition_history":"Possibly London, Durand-Ruel, Eighth Exhibition of the Society of French Artists, spring 1874, cat. 142, as Ste Adresse near Havre.\n\nParis, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 151, as La Plage \u00e0 Sainte-Adresse. Appartient \u00e0 M. Faure.\n\nParis, Galerie Georges Petit, Claude Monet\u2014A. Rodin, June 21\u2013Sept. 21, 1889, cat. 5, as Sainte-Adresse. 1867. \n\nArt Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6\u2013Oct. 9, 1932, cat. 19 (ill.).\n\nArt Institute of Chicago, \u201cA Century of Progress\u201d: Loan Exhibition of Paintings and Sculpture, May 23\u2013Nov. 1, 1933, cat. 292.\n\nCity Art Museum of St. Louis, Paintings by French Impressionists (1860\u20131880), Apr. 17\u2013May 16, 1934, no cat.\n\nArt Institute of Chicago, \u201cA Century of Progress\u201d: Loan Exhibition of Paintings and Sculpture for 1934, June 1\u2013Oct. 31, 1934, cat. 210. \n\nToledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 8 (paintings). \n\nKansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, French Impressionist Landscape Painting, Nov. 29\u2013Dec. 30, 1936, cat. 23 (cover ill.). \n\nArt Institute of Chicago, Masterpiece of the Month, June 30\u2013July 31, 1945, no cat. \n\nKunsthaus Z\u00fcrich, Claude Monet: 1840\u20131926, May 10\u2013June 15, 1952, cat. 11 (ill.); Paris, Galerie Beaux-Arts, June 19\u2013July 17, 1952, cat. 8 (ill.); The Hague, Gemeentemuseum, July 24\u2013Sept. 22, 1952, cat. 9 (ill.).\n\nArt Institute of Chicago, The Paintings of Claude Monet, Apr. 1\u2013June 15, 1957, no cat. no.\n\nCity Art Museum of St. Louis, Claude Monet: A Loan Exhibition, Sept. 25\u2013Oct. 22, 1957, cat. 4 (ill.); Minneapolis Institute of Arts, Nov. 1\u2013Dec. 1, 1957.\n\nSan Francisco, California Palace of the Legion of Honor, Painters by the Sea, July 1\u201330, 1961, no cat.; Santa Barbara (Calif.) Museum of Art, Aug. 8\u2013Sept. 3, 1961. \n\nArt Institute of Chicago, Paintings by Monet, Mar. 15\u2013May 11, 1975, cat. 10 (ill.).\n\nNorthampton, Mass., Smith College Museum of Art, Jongkind and the Pre-Impressionists: Painters of the Ecole Saint-Sim\u00e9on, Oct. 15\u2013Dec. 5, 1976, cat. 90 (ill.); Williamstown, Mass., Sterling and Francine Clark Art Institute, Dec. 17, 1976\u2013Feb. 13, 1977.\n\nParis, Galeries Nationales du Grand Palais, Hommage \u00e0 Claude Monet (1840\u20131926), Feb. 8\u2013May 5, 1980, cat. 16 bis (ill.).\n\nAlbi, Mus\u00e9e Toulouse-Lautrec, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, June 27\u2013Aug. 31, 1980, cat. 9 (ill.).\n\nLos Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28\u2013Sept. 16, 1984, cat. 6 (ill.); Art Institute of Chicago, Oct. 23, 1984\u2013Jan. 6, 1985; Paris, Galeries Nationales d\u2019Exposition du Grand Palais, as L\u2019impressionnisme et le paysage fran\u00e7ais, Feb. 4\u2013Apr. 22, 1985.\n\nWashington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874\u20131886, Jan. 17\u2013Apr. 6, 1986, cat. 31 (ill.); Fine Arts Museums of San Francisco\/M. H. de Young Memorial Museum, Apr. 19\u2013July 6, 1986.\n\nLeningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzsko\u012d zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-\u012corke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 27; Moscow, Pushkin Museum, June 10-July 30, 1988.\n\nParis, Galeries Nationales du Grand Palais, Impressionnisme: Les origines, 1859\u20131869, April 19\u2013August 8, 1994, cat. 136; New York, Metropolitan Museum of Art, Origins of Impressionism, September 27, 1994\u2013January 8, 1995.\n\nArt Institute of Chicago, Claude Monet, 1840\u20131926, July 22\u2013Nov. 26, 1995, cat. 12 (ill.).\n\nArt Institute of Chicago, Manet and the Sea, Oct. 20, 2003\u2013Jan. 19, 2004, cat. 97 (ill.); Philadelphia Museum of Art, Feb. 15\u2013May 30, 2004; Amsterdam, Van Gogh Museum, June 18\u2013Sept. 26, 2004.\n\nFine Arts Museums of San Francisco, Monet in Normandy, June 17\u2013Sept. 17, 2006, cat. 5 (ill.); Raleigh, North Carolina Museum of Art, Oct. 15, 2006\u2013Jan. 14, 2007; Cleveland Museum of Art, Feb. 18\u2013May 20, 2007 (Cleveland only).\n\nLondon, Royal Academy of Arts, Impressionists by the Sea, July 7\u2013Sept. 30, 2007, cat. 32 (ill.); Washington, D.C., Phillips Collection, Oct. 20, 2007\u2013Jan. 13, 2008; Hartford, Conn., Wadsworth Atheneum Museum of Art, Feb. 9\u2013May 11, 2008.\n\nParis, Galeries Nationales du Grand Palais, Claude Monet, 1840\u20131926, Sept. 22, 2010\u2013Jan. 24, 2011, cat. 16 (ill.).\n\nMuseo Nacional Thyssen-Bornemisza, Monet\/ Boudin, exh. cat. (Fundaci\u00f3n Colecci\u00f3n Thyssen-Bornemisza, 2018), pp. 65, 130-131, 269, cat. 26 (ill). \n\nArt Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 14.\n\nCologne, Wallraf-Richartz-Museum & Foundation Corbound, A Revolution in Art: Paris 1863-1875, From Salon to Impressionism, Mar. 15\u2013July 28, 2024.","provenance_text":"The artist (d. 1926); sold to Durand-Ruel, Paris, Feb. 28, 1873, for 400 francs [per Durand-Ruel, Paris, stock book for 1868\u201373 (no. 2585, as Marine, temps gris), as 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]; probably sold to Jean-Baptiste Faure, Paris, by 1876 [per Wildenstein 1996; the Durand-Ruel Archives are unable to confirm Faure's purchase, see Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold to Durand-Ruel, Paris, Jan. 9, 1893, for 7,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1891 (no. 2585, as Sainte-Adresse), as 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]; sold to Henri V\u00e9ver, Paris, Jan. 17, 1893, for 8,000 francs; sold Henri V\u00e9ver, Paris, sale, Galerie Georges Petit, Paris, Feb. 1\u20132, 1897, lot 79, to Boulley, as the agent for Georges Kohn, Paris, for 9,000 francs [per Galerie Georges Petit, Paris, sale cat. Feb. 1\u20132, 1897, the Durand-Ruel Archives also confirms that the painting was \u201cachet\u00e9 \u00e0 G. Kohn (et non pas Kahn)\u201d; see Paul-Louis Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold jointly to Durand-Ruel, Paris, and Bernheim-Jeune, Paris, June 11, 1920, for 40,000 francs [per Durand-Ruel, Paris, stock book for 1921 (no. 11701, as Sainte-Adresse), as 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]; sold to Annie Swan Coburn, Chicago (d. 1932), Feb. 8, 1923 [per Durand-Ruel, New York, deposit book for 1894\u20131925 (no. 8044, as Sainte-Adresse), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, dated Oct. 5, 2010, curatorial object file, see also a letter on Durand-Ruel letterhead, Mar. 18, 1932, verifying that Coburn purchased the painting from Durand-Ruel] Bequeathed to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1940,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":11.3485,"color":{"h":210,"l":31,"s":40,"percentage":0.01066282804856918,"population":56},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 225","gallery_id":2147483603,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":35809,"artist_title":"Claude Monet","alt_artist_ids":[],"artist_ids":[35809],"artist_titles":["Claude Monet"],"category_ids":["PC-10","PC-831"],"category_titles":["Painting and Sculpture of Europe","Essentials"],"term_titles":["painting","Impressionism","oil painting","landscapes","oil paint (paint)","nineteenth century","19th century","painting techniques","painting","painting","paint","paint","oil paintings (visual works)","oil on canvas","french","men","figures","clouds","sky","fisherman","painting (image making)","canvas","european painting","weather\/seasons","work","leisure","water","transportation","seas","boats","sailing","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-15636","TM-13203"],"style_ids":["TM-7543","TM-15636","TM-13203"],"style_titles":["Impressionism","nineteenth century","19th century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-10387","TM-78","TM-66","TM-14976","TM-54"],"classification_ids":["TM-9","TM-10387","TM-78","TM-66","TM-14976","TM-54"],"classification_titles":["painting","paint","oil paintings (visual works)","oil on canvas","french","european painting"],"subject_id":"TM-8657","alt_subject_ids":["TM-10121","TM-15161","TM-11222","TM-12468","TM-14848","TM-10095","TM-10093","TM-10094","TM-8681","TM-8668","TM-12286","TM-8737","TM-12236","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8657","TM-10121","TM-15161","TM-11222","TM-12468","TM-14848","TM-10095","TM-10093","TM-10094","TM-8681","TM-8668","TM-12286","TM-8737","TM-12236","TM-12169","TM-11299","TM-12176"],"subject_titles":["landscapes","men","figures","clouds","sky","fisherman","weather\/seasons","work","leisure","water","transportation","seas","boats","sailing","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":["Essentials"],"image_id":"95be2572-b53d-8e7b-abc9-10eb48d4fa5d","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[36702616178,36912890728],"section_titles":["Cat. 13 \u00a0The Beach at Sainte-Adresse, 1867","Signatures"],"site_ids":[],"suggest_autocomplete_boosted":"The Beach at Sainte-Adresse","suggest_autocomplete_all":[{"input":["1933.439"],"contexts":{"groupings":["accession"]}},{"input":["The Beach at Sainte-Adresse"],"weight":50785,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-12T11:21:56-05:00","updated_at":"2026-09-01T03:06:29-05:00","timestamp":"2026-09-06T05:52:11-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.15"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}