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About This Artwork
Beach at Cabasson (Baigne-Cul), 1891/92
Oil on canvas
25 3/4 x 36 3/8 in. (65.3 x 92.3 cm)
Inscribed lower left: henri Edmond Cross
L. L. and A. S. Coburn, and Bette and Neison Harris funds; Charles H. and Mary F. S. Worcester Collection; through prior acquisition of the Kate L. Brewster Collection, 1983.513
As a result of his rheumatoid arthritis, Henri-Edmond Cross moved to Cabasson, a hamlet on the Côte d’Azur. This move south deeply affected his art. Although he had been friends with Camille Pissarro, Georges Seurat, Paul Signac, and other Neo-Impressionists for years, it was only after settling on the Mediterranean coast in 1891 that he embraced the divided brushwork (small dashes and dots of color applied regularly throughout a composition) and color gradations of “scientific Impressionism.” It became his means of capturing the color and heat of his adopted region.
— Permanent collection label
Paris, Société des Artistes indépendants, 1892, cat. 312, p. 22-23.
[Possibly] Paris, Galerie Le Barc de Boutteville, IIe exposition des Peintres impressionistes et symbolistes, 1892.
Paris, Hôtel Brébant, Exposition des peintres Néo-Impressionnistes, December 2, 1892-January 8, 1893, cat. 10.
Brussels, Les XX, 1893, cat. 3.
Anvers, Second exposition de l’Association pour l’Art, 1893, cat. 3.
New York, Fine Arts Associates, Henri-Edmond Cross, April 16 - May 5, 1951, cat. 3.
New York, Wildenstein Galleries, Seurat and His Friends, 1953, cat. 57.
New York, Guggenheim, Neo-Impressionism, February–April 1968.
Tokyo, The Seibu Museum of Art / Fukuoka Art Museum, Fukuoka / Kyoto Municipal Museum of Art, Kyoto, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18 - December 17, 1985 / January 5 - February 2, 1986 / March 4 - April 13, 1986, cat. 53.
Los Angeles, County Museum of Art, A Day in the Country Impressionism and the French Landscape, June 28 - September 16, 1984; traveled to Chicago, Art Institute, October 23, 1984 - January 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, February 8 - April 22, 1985, cat. 136.
Paris, France, Musée d'Orsay, Le Néo-Impressionnisme de Seurat á Paul Klee, March 14- July 10, 2005.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 53 (ill.).
Washington, D.C., Phillips Collection, Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music, September 27, 2014-January 11, 2015.
Isabelle Compin, H.E. Cross (Paris, 1964), no. 31, pp. 333-34, 117-118.
The Burlington Magazine (May 1982), p. vi.
Felix Billeter, "Zwischen Kunstgeschichte und Industriemanagement: Eberhard von Bodenhausen als Sammler Neoimpressionistischer Malerei," in Andrea Pophanken and Felix Billeter, Die Moderne und ihre Sammler: französische Kunst in deutschen Privatbesitz vom Kaiserreich zur Weimarer Republik (Berlin, 2001), p. 144.
Sylvie Carlier, Le Néo-Imoressionnisme de Seurat á Paul Klee, Exh. cat. (Réunion des Musées Nationaux, 2005), p. 24, p. 132, ill. 133.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 53, pp. 116-117 (ill.).
Eberhard Freiherr von Bodenhausen (died 1918), Munich [according to Billeter 2001]; perhaps by inheritance to his wife Dora Freifrau von Bodenhausen. Martin Fabiani, Paris; sold to Gallery Fine Arts Associates (Otto Gerson), May 1951 [see Gallery Fine Arts Associates' stockcard, Otto Gerson Papers, Archives of American Art, copy in curatorial file]; sold to Mrs. Vincent Astor, Rhinebeck, New York, May 1951 [see stockcard citied above]. Mr. and Mrs. Werner E. Josten, New York, by 1964 [according to Compin 1964] until at least 1968 [New York 1968]. Private Collection, Maryland [information given by R. L. Feigen]. Richard L. Feigen and Co., by 1982; sold to the Art Institute, 1983.