Claude Monet Art Beach in Pourville How to Find Nucleons

1882

Claude Monet
French, 1840-1926

In Feb 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he fabricated in the 1880s. This was also a retreat from personal and professional pressures. His married woman, Camille, had died three years earlier, and Monet had entered into a domestic system with Alice Hoschedé (whom he would marry in 1892, afterward her husband's death). France was in the midst of a lengthy economic recession that affected Monet'due south sales. In addition, the creative person was unenthusiastic near the upcoming seventh Impressionist exhibition—divisions within the group had become pronounced by this fourth dimension—and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel.Disappointed in the surface area around the harbor city of Dieppe, which he found also urban, Monet settled in Pourville and remained in this fishing village until mid-Apr. He became increasingly enamored of his environment, writing to Hoschedé and her children: "How cute the countryside is condign, and what joy it would be for me to show you lot all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville.The 2 young women strolling in Cliff Walk at Pourville are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one some other through texture and color. The grass—composed of brusk, brisk, curved brushstrokes—appears to quiver in the breeze, and subtly modified versions of the same strokes and hues suggest the women's wind-whipped dresses and shawls and the undulation of the sea. X-radiographs prove that Monet reduced the rocky outcropping at the far right to balance the proportions of bounding main and sky.

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

Artist: Claude Monet
Title: Cliff Walk at Pourville
Origin: France
Date: 1882
Medium: Oil on canvas
Inscriptions: Inscribed, lower right: Claude Monet 82
Dimensions: 66.5 × 82.three cm (26 1/8 × 32 7/16 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1933.443
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set up of open up standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the earth. Acquire more.: https://api.artic.edu/api/v1/artworks/14620/manifest.json

Dowdeswell and Dowdeswell and Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels past Members of "La Société des impressionnistes," exh. cat. (Dowdeswell and Dowdeswell, 1883) p. 11, cat. 32.
Galeries Durand-Ruel, Catalogue de l'exposition des oeuvres de Claude Monet, exh. cat. (Galeries Durand-Ruel, 1883), p. 2, true cat. 20.
Georges Lecomte, 50'fine art impressionniste d'après la collection privée de M. Durand-Ruel (Chamerot et Renouard, 1892), pp. 246–47.
Octave Maus, Exposition des peintres impressionnistes, exh. cat. (Libre Esthétique, 1904), p. forty, cat. 109.
Theodore Duret, "Claude Monet und der Impressionismus," Kunst und Künstler (Mar. 1904), p. 245 (ill.).
André Mellerio, "Correspondance de Belgique: Exposition des peintres impressionnistes à la 'Libre Esthétique,'" La chronique des arts et de la curiosité 13 (Mar. 26, 1904), p. 104.
Durand-Ruel & Sons and Grafton Galleries, Pictures past Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley Exhibited by Messrs. Durand-Ruel & Sons, of Paris, at the Grafton Galleries, 8 Grafton Street, London, exh. cat. (Strangeways and Sons, 1905), p. 15, cat. 157.
Durand-Ruel and Sons, A Selection from the Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley Exhibited by Messrs. Durand-Ruel and Sons, of Paris, at the Grafton Galleries, 8, Grafton Street, London, 1905 (Durand-Ruel and Sons, 1905), p. 23, cat. 157 (sick.).
Manchester City Art Gallery, Handbook to the Exhibition of Modernistic French Paintings, exh. cat. (Taylor, Garnett, Evans, 1907), p. 18, cat. 78.
Galeries Durand-Ruel, Paris, Exposition de paysages par Claude Monet et Renoir, exh. cat. (Galeries Durand-Ruel, 1908), cat. 33.
Édouard Sarradin, "Notes d'art: Paysages de Claude Monet et de Renoir," Periodical des débats politiques et littéraires 120, 143 (May 23, 1908), p. three.
Charles Louis Borgmeyer, "The Chief Impressionists," Fine Arts 28, 6 (June 1913), p. 328 (sick.).
Galerie Durand-Ruel, Paris, Tableaux par Claude Monet, exh. cat. (Imp. de l'Art, 1914), cat. 30.
Arsène Alexandre, Claude Monet (Bernheim-Jeune, 1921), p. 78.
Gustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Crès, 1922), p. 107.
Madeleine Octave Maus, "Exposition des peintres impressionnistes," in Trente années de lutte pour l'art, 1884–1914 (Librairie l'Oiseau Bleu, 1926), p. 324.
Art Found of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. nineteen, no. 22; 48, no. 22 (sick.).
Daniel Catton Rich, "The Mrs. Fifty. 50. Coburn Collection," in Fine art Found of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modernistic Paintings and Watercolors, exh. cat. (Art Constitute of Chicago, 1932), p. 7.
Daniel Catton Rich, "The Bequest of Mrs. L. L. Coburn," Bulletin of the Fine art Institute of Chicago 26, half-dozen (Nov. 1932), pp. 66, 68.
Art Institute of Chicago, Catalogue of "A Century of Progress": 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. 295.
Art Institute of Chicago, Catalogue of "A Century of Progress": Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 37, cat. 214.
Art Establish of Chicago, "The United States Now an Art Publishing Center," Bulletin of the Art Institute of Chicago 36, 2 (February. 1942), p. 30.
Charles Fabens Kelley, "Cliff Walk, by Monet," Christian Science Monitor (Dec. 18, 1935) (sick.).
Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 284.
Art Constitute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Fine art Institute of Chicago, 1956), p. 34.
Fine art Institute of Chicago, "Homage to Claude Monet," Art Found of Chicago Quarterly 51, two (April. one, 1957), p. 24.
Art Constitute of Chicago, "Chronology," Art Institute of Chicago Quarterly 51, 2 (Apr. one 1957), p. 29 (ill.).
Art Institute of Chicago, "Catalogue," Art Institute of Chicago Quarterly 51, ii (Apr. ane, 1957), p. 33.
William C. Seitz, Claude Monet (Abrams, 1960), pp. xxx; 116–17 (ill.).
Art Found of Chicago, Paintings in the Art Establish of Chicago: A Catalogue of the Film Drove (Art Institute of Chicago, 1961; reissue, 1968), p. 319.
Yvon Taillandier, Monet, trans. A. P. H. Hamilton (Crown, [1963]), p. 59 (ill.).
Frederick A. Sweet, "Great Chicago Collectors," Apollo 84, 55 (Sept. 1966), p. 203.
Luigina Rossi Bortolatto, 50'opera completa di Claude Monet, 1870–1889, Classici dell'arte 63 (Rizzoli, 1972), pp. 16; 49, pl. 33; 103, cat. 230 (ill.).
Denis Rouart, "Apparences et reflets," in Denis Rouart and Jean-Dominique Rey, Monet, nymphéas, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 26. Translated past David Radzinowicz as "Appearances and Reflections," in Monet, Water Lilies: The Consummate Serial, rev. ed., with a cat. rais. by Julie Rouart with Camille Sourisse (Flammarion/Rizzoli, 2008), p. 25.
M. P., "Beeline," Chicago Daily News, Aug. 27, 1973, p. 16 (particular).
Susan Wise, "An Exhibition of Paintings past Claude Monet," Midwest Museum Conference of the American Association of Museums: Quarterly 35, ane (Winter 1974–75), p. 9 (ill.).
Susan Wise, ed., Paintings by Monet, exh. true cat. (Art Institute of Chicago, 1975), p. 109, true cat. 55 (ill.).
Guy Hubbard and Mary J. Rouse, Art: Discovering and Creating (Benefic, 1977), pp. 22 (ill.), 81 (sick.).
J. Patrice Marandel, "New Installation of Earlier Paintings," Bulletin of the Art Constitute of Chicago 73, 1 (Jan.–Feb. 1979), p. 15 (sick.).
Brian Petrie, Claude Monet: The First of the Impressionists (Phaidon, 1979), pp. 58; 61, pl. 50.
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 2, Peintures, 1882–1886 (Bibliothèque des Arts, 1979), pp. 78; 79, true cat. 758 (ill.).
Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 32, no. 12 (ill.); 67.
William C. Seitz, Monet: 25 Masterworks (Abrams, 1982), pp. 44–45 (ill.).
Andrea P. A. Belloli, ed., A Twenty-four hour period in the Land: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Fine art, 1984), p. 364.
Sylvie Gache-Patin and Scott Schaefer, "Impressionism and the Body of water," in A 24-hour interval in the Land: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 272 (detail); 276; 284; 286, no. 117 (ill.); 288; 290. Translated as "La mer," in Réunion des Musées Nationaux, L'impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 295; 306–07, no. 117 (ill.).
Robert Rosenblum and H. W. Janson, Nineteenth-Century Art (Abrams, 1984), pp. 400, fig. 321; 401.
Marcel Roethlisberger, "A Panoramic View by Claude Lorrain," Fine art Establish of Chicago Museum Studies xi, 2 (Spring 1985), p. 115, n. 31.
John House, Monet: Nature into Fine art (Yale University Press, 1986), p. 185, pl. 228.
Richard R. Brettell, French Impressionists (Fine art Institute of Chicago/Abrams, 1987), pp. 74–75 (detail), 76 (ill.), 118.
Robert 50. Herbert, Impressionism: Fine art, Leisure, and Parisian Society (Yale Academy Printing, 1988), pp. 299; 300, fig. 305.
David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism, exh. cat. (National Gallery, London/Yale University Press, 1990), p. 109, fig. 52.
Rodolphe Rapetti, Monet (Anaya/Giorgio Mondadori, 1990), p. 62, pl. forty. Translated past Richard Crevier as Monet, Masters' Gallery (Curvation Cape/Outlet Book, 1990), p. 62, pl. xl.
Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Benedikt Taschen, 1990), pp. 125, 127 (ill.). Translated by Karen Williams as Claude Monet, 1840–1926: A Feast for the Eyes (Taschen, 2004), pp. 125, 127 (sick.).
Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 134; 136, pl. 123.
Michael Howard, ed., The Impressionists by Themselves: A Selection of Their Paintings, Drawings and Sketches with Extracts from Their Writings (Conran Octopus, 1991), pp. 255 (sick.), 320.
Frank Milner, Monet (Mallard, 1991), pp. xix, 78–79 (ill.).
Sylvie Patin, Monet: "Un oeil … mais, bon Dieu, quel oeil!" (Gallimard/Réunion des Musées Nationaux, 1991), p. 81 (ill.). Translated by Anthony Roberts every bit Monet: The Ultimate Impressionist (Abrams, 1993), p. 81 (ill.).
Sophie Fourny-Dargère, Monet, Profils de l'fine art (Chêne, 1992), pp. 100–101, fig. 2.
Scott Reyburn, Monet (Medici Gild, 1992), cover (ill.).
Virginia Spate, Claude Monet: Life and Piece of work (Rizzoli, 1992), pp. 154; 156; 158–59, ill. 177.
Marianne Alphant, Claude Monet: Une vie dans le paysage (Hazan, 1993), p. 334.
Christoph Heinrich, Claude Monet, 1840–1926 (Benedikt Taschen, 1993), pp. 51 (ill.), 95.
Art Found of Chicago, Treasures of 19th- and 20th-Century Painting: The Fine art Institute of Chicago, with an introduction by James N. Wood (Art Found of Chicago/Abbeville, 1993), p. 89 (ill.).
Robert L. Herbert, Monet on the Normandy Coast: Tourism and Painting, 1867–1886 (Yale University Press, 1994), pp. 45, fig. 49; 46–47 (detail); 135.
Henri Lallemand, Monet: Impressions of Calorie-free (Todtri, 1994), pp. 85, 101 (ill.).
Steven Z. Levine, Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self (University of Chicago Press, 1994), pp. 30, 33.
Denis Thomas, Monet on Location (Regency House, 1994), p. 49 (sick.).
Richard Thomson, Monet to Matisse: Landscape Painting in France, 1874–1914, exh. cat. (National Galleries of Scotland, 1994), p. 164, northward. x.
Andrew Forge, Monet, Artists in Focus (Art Establish of Chicago, 1995), pp. 25; 28; 71 (item); 78, pl. 7; 107.
John Russell Taylor, Claude Monet: Impressions of French republic, From Le Havre to Giverny (Collins & Dark-brown, 1995), p. 91 (ill.).
Daniel Wildenstein, Monet, or The Triumph of Impressionism, true cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 179; 180–81 (detail).
Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Establish, 1996), pp. 282, cat. 758 (sick.); 283–84.
Anne-Marie Bergeret-Gourbin, Monet: La Normandie (Herscher, 1997), pp. 48–49 (ill.).
Carla Rachman, Monet, Art and Ideas (Phaidon, 1997), pp. 160–61, fig. 107.
Susanne Weiss, Claude Monet: Ein distanzierter Blick auf Stadt und Land, Werke 1859–1889 (Reimer, 1997), pp. 153; 264, fig. 58.
James Henry Rubin, Impressionism, Art and Ideas (Phaidon, 1999), pp. 92–93, fig. 50 (detail); 128–29, fig. 76; 306; 307.
Hendrik Ziegler, "'Klein Paris' in Weimar," in Aufstieg und Autumn der Moderne, ed. Rolf Bothe and Thomas Föhl, exh. true cat. (Hatje Cantz, 1999), pp. 18, fig. 3; xix; 28.
Fine art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James North. Wood (Fine art Constitute of Chicago/Hudson Hills, 2000), p. 74 (ill.).
Maria Teresa Benedetti, Monet: I luoghi (Giunti, 2001), p. 26 (sick.).
National Gallery of Australia, Monet and Japan, exh. cat. (National Gallery of Australia/University of Washington Printing, 2001), pp. 90, true cat. 13 (ill.); 195.
Karin Sagner-Düchting, "Monet's Late Piece of work from the Vantage Point of Modernism," in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), p. 25.
Karin Sagner-Düchting, "Les Falaises—Coastal Paintings," in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), pp. 47, 50 (ill.).
Norio Shimada and Keiko Sakagami, Kurōdo Mone meigashū: Hikari to kaze no kiseki [Claude Monet: 1881–1926], vol. 2 (Nihon Bijutsu Kyōiku Sentā, 2001), pp. 14, no. 147 (ill.); 188.
Virginia Spate and David Bromfield, "A New and Strange Beauty: Monet and Japanese Art," in National Gallery of Commonwealth of australia, Monet and Japan, exh. cat. (National Gallery of Commonwealth of australia/University of Washington Press, 2001), p. 33 (ill.).
Angus Trumble, "Canberra and Perth, Monet and Japan," Burlington Magazine 143, 1181 (Aug. 2001), pp. 522; 523, fig. 78.
Hendrik Ziegler, Die Kunst der Weimarer Malerschule: Von der Pleinairmalerei zum Impressionismus (Böhlau, 2001), pp. 182–83.
Michael Clarke and Richard Thomson, Monet: The Seine and the Bounding main, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), pp. 136, cat. 65 (ill.); 137.
Anne L. Cowe, "Claude Monet: A Chronology 1878–1883," in Michael Clarke and Richard Thomson, Monet: The Seine and the Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), p. 171.
Guy Cogeval et al., Édouard Vuillard, exh. cat. (National Gallery of Art, Washington, D.C., 2003), pp. 440, fig. 1; 441.
Debra N. Mancoff, Monet: Nature into 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 Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), pp. 14–15 (item); 31.
Robert L. Herbert et al., Seurat and the Making of "La Grande Jatte," exh. cat. (Fine art Institute of Chicago/Academy of California Press, 2004), pp. 57; 58–59, true cat. 96 (sick.); 62; 276.
Madeleine Korn, "Exhibitions of Mod French Art and Their Influence on Collectors in Great britain, 1870–1918: The Davies Sisters in Context," Journal of the History of Collections xvi, 2 (2004), pp. 199; 200, fig. 7.
Isabelle Cahn, 50'impressionnisme, ou L'oeil naturel, Fifty'aventure de fifty'art (Chêne, 2005), pp. 160–61 (detail), 215 (sick.), 222.
Frances Fowle, "Making Money out of Monet: Marketing Monet in United kingdom of great britain and northern ireland, 1870–1905," in Monet and French Landscape: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 145.
Adrian Lewis, "Reading Monet's Garden at Vétheuil (1881) Radically," in Frances Fowle, ed., Monet and French Landscape: Vétheuil and Normandy (National Galleries of Scotland, 2006), p. 43, pl. eleven.
Robert 50. Herbert, "Monet's Neo-Romantic Seascapes, 1881–1886," in Monet and French Landscape: 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. cat. (Fine Arts Museums of San Francisco/North Carolina Museum of Fine art/Cleveland Museum of Fine art, 2006), pp. 89; 104–07, true cat. 30 (ill.), fig. 52; 158; 184.
Anna Gruetzner Robins, "'Slab of Pink and Lumps of Dark-brown': The Critical Reaction to the Exhibition of a Monet Grainstack Painting in U.k. in 1893," in Monet and French Mural: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 161.
Norio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 73 (sick.).
Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 93 (sick.).
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: Promise of Happiness, exh. cat. (Seoul Museum of Fine art, 2009), pp. 163 (ill.), 165 (ill.).
Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 181 (ill.).
Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of French Impressionism: Masterpieces from the Art Establish of Chicago, rev. and expanded ed. (Fine art Institute of Chicago/Yale Academy Press, 2010; repr. 2013), p. 118, cat. 57 (ill.).
Ségolène Le Men, Monet (Citadelles & Mazenod, 2010), pp. 226–27, sick. 184; 229; 235.
Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d'Orsay, 2010), p. 184, 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," Discontinuity 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; threescore.
"True cat. 19: Cliff Walk at Pourville, 1882" in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Fine art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470.
Marco Goldin, ed., Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Gauguin (Linea d'ombre, 2016), 344-45 (detail ill.), 365 (color ill.), 445 cat. 125.
Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Fine art Institute, 2020), 65 cat. 29, 133.

Paris, Galeries Durand-Ruel, Exposition des oeuvres de Claude Monet, Mar. 1–25, 1883, cat. 20, as Promenade sur la Falaise. Appartenant à M. Hayes.
London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of "La Société des Impressionnistes," Apr.–July 1883, true 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, Feb. 25–Mar. 29, 1904, cat. 109, as 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, eight Grafton Street, London, January.–February. 1905, cat. 157, equally The Walk on the Cliffs. 1882.
Manchester Metropolis Art Gallery, Exhibition of Mod French Paintings, Winter 1907–08, cat. 78, as The Cliffs, Pourville (1882).
Paris, Durand-Ruel, Exposition de paysages par Claude Monet et Renoir, May 18–June 6, 1908, true cat. 33, every bit Promenade sur la falaise—1882.
Paris, Galeries Durand-Ruel, Tableaux par Claude Monet, Mar. 2–28, 1914, cat. 30, as Promenade sur la falaise. 1882.
Art Institute of Chicago, Exhibition of the Mrs. 50. L. Coburn Drove: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, true cat. 22 (sick.).
Fine art Constitute of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture, May 23–November. ane, 1933, cat. 295.
Fine art Institute 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, Apr. ane–June 15, 1957, no true cat.
Fine art Constitute 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, cat. 12 (ill.).
Los Angeles County Museum of Art, A Day in the Land: Impressionism and the French Landscape, June 28–Sept. 16, 1984, true 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, Feb. 4–Apr. 22, 1985.
Canberra, National Gallery of Australia, Monet and Japan, Mar. 9–June 11, 2001, true cat. xiii (ill.); Perth, Art Gallery of Western Commonwealth of australia, July 7–Sept. 16, 2001.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, loan commutation, Oct. 12, 2001–June 12, 2002.
Edinburgh, Royal Scottish Academy, Monet: The Seine and the Sea, 1878–1883, Aug. vi–Oct. 26, 2003, cat. 65 (ill.).
Art Institute of Chicago, Seurat and the Making of "La Grande Jatte," June 19–Sept. xix, 2004, cat. 96 (ill.).
Fine Arts Museums of San Francisco, Monet in Normandy, June 17–Sept. 17, 2006, cat. thirty (ill.); Raleigh, North Carolina Museum of Art, October. 15, 2006–Jan. 14, 2007; Cleveland Museum of Fine art, Feb. 18–May 20, 2007.
Paris, Galeries Nationales du Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–January. 24, 2011, true 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, by Mar. one, 1883 [per Galeries Durand-Ruel 1883]. Hermann Kapferer, Paris, by July 17, 1888 [per Durand-Ruel, Paris, stock volume for 1888 (no. 1687), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Athenaeum, to the Fine art Institute of Chicago, Oct. 5, 2010, curatorial object file. Wildenstein 1996 does not include Hermann Kapferer in the painting's provenance and claims that Durand-Ruel purchased the painting from Monet in October 1882; the Durand-Ruel Archives are unable to back up this claim]; sold to Durand-Ruel, Paris, July 17, 1888, for i,200 francs [per Durand-Ruel, Paris, stock book for 1888 (no. 1687), as confirmed past Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Fine art Institute of Chicago, Oct. 5, 2010, curatorial object file. Wildenstein 1996) does non include this in the provenance]; possibly sold to Annie Swan Coburn (d. 1932), Chicago, by April. 26, 1928 [per Art Institute of Chicago exh. true cat. 1932. There is a notation on the Fine art Institute'south Museum Registration Department Artists Sheets that reads, "Durand-Ruel 995 iv/26/28," and one on receipt 5300 that states "P995 D-R Ap '26." This auction cannot be confirmed with the Durand-Ruel Archives, Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Fine art Establish of Chicago, October. 5, 2010, curatorial object file]; bequeathed to the Art Institute of Chicago, 1933.

Object data is a work in progress and may be updated equally new research findings emerge. To assistance ameliorate this tape, please electronic mail . Information nearly prototype downloads and licensing is available here.