About This Artwork

Claude Monet
French, 1840-1926

Cliff Walk at Pourville, 1882

Oil on canvas
66.5 x 82.3 cm (26 1/8 x 32 7/16 in.)
Inscribed, lower right: Claude Monet 82

Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.443

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 758

This work is featured in the online catalogue Monet Paintings and Drawings at the Art Institute of Chicago, the first volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 47 artworks by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.



In February 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 pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death). France was in the midst of a lengthy economic recession that affected Monet's sales. In addition, the artist was unenthusiastic about the upcoming seventh Impressionist exhibition—divisions within the group had become pronounced by this time—and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel.

Disappointed in the area around the harbor city of Dieppe, which he found too urban, Monet settled in Pourville and remained in this fishing village 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 problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and color. The grass—composed of short, 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 show that Monet reduced the rocky outcropping at the far right to balance the proportions of sea and sky.

Exhibition, Publication and Ownership Histories

Exhibition History

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, cat. 32, as Promenade sur la falaise.

Possibly Weimar, Permanenten Ausstellung für Kunst und Kunstgewerbe, c. June 1–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, 8 Grafton Street, London, Jan.–Feb. 1905, cat. 157, as The Walk on the Cliffs. 1882.

Manchester City Art Gallery, Exhibition of Modern 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, cat. 33, as 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. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 22 (ill.).

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 295.

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. 1–June 15, 1957, no cat.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 55 (ill.).

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 Country: Impressionism and the French Landscape, June 28–Sept. 16, 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, Feb. 4–Apr. 22, 1985.

Canberra, National Gallery 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, Royal Scottish Academy, Monet: The Seine and the Sea, 1878–1883, Aug. 6–Oct. 26, 2003, cat. 65 (ill.).

Art Institute of Chicago, Seurat and the Making of “La Grande Jatte,” June 19–Sept. 19, 2004, cat. 96 (ill.).

Fine Arts Museums of San Francisco, Monet in Normandy, June 17–Sept. 17, 2006, cat. 30 (ill.); Raleigh, North Carolina Museum of Art, Oct. 15, 2006–Jan. 14, 2007; Cleveland Museum of Art, Feb. 18–May 20, 2007.

Paris, Galeries Nationales du Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–Jan. 24, 2011, cat. 62 (ill.).

Publication History

Dowdeswell and Dowdeswell and Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by 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, cat. 20.

Georges Lecomte, L’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. 40, 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 by 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 (ill.).

Manchester City Art Gallery, Handbook to the Exhibition of Modern 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,” Journal des débats politiques et littéraires 120, 143 (May 23, 1908), p. 3.

Charles Louis Borgmeyer, “The Master Impressionists,” Fine Arts 28, 6 (June 1913), p. 328 (ill.).

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 Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 19, no. 22; 48, no. 22 (ill.).

Daniel Catton Rich, “The Mrs. L. L. Coburn Collection,” 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.

Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of the Art Institute of Chicago 26, 6 (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 Institute of Chicago, “The United States Now an Art Publishing Center,” Bulletin of the Art Institute of Chicago 36, 2 (Feb. 1942), p. 30.

Charles Fabens Kelley, “Cliff Walk, by Monet,” Christian Science Monitor (Dec. 18, 1935) (ill.).

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 284.

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1956), p. 34.

Art Institute of Chicago, “Homage to Claude Monet,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 24.

Art Institute of Chicago, “Chronology,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1 1957), p. 29 (ill.).

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.

William C. Seitz, Claude Monet (Abrams, 1960), pp. 30; 116–17 (ill.).

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (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, L’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 by David Radzinowicz as “Appearances and Reflections,” in Monet, Water Lilies: The Complete Series, 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 (detail).

Susan Wise, “An Exhibition of Paintings by Claude Monet,” Midwest Museum Conference of the American Association of Museums: Quarterly 35, 1 (Winter 1974–75), p. 9 (ill.).

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 109, cat. 55 (ill.).

Guy Hubbard and Mary J. Rouse, Art: Discovering and Creating (Benefic, 1977), pp. 22 (ill.), 81 (ill.).

J. Patrice Marandel, “New Installation of Earlier Paintings,” Bulletin of the Art Institute of Chicago 73, 1 (Jan.–Feb. 1979), p. 15 (ill.).

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, 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 Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 364.

Sylvie Gache-Patin and Scott Schaefer, “Impressionism and the Sea,” 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. 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,” Art Institute of Chicago Museum Studies 11, 2 (Spring 1985), p. 115, n. 31.

John House, Monet: Nature into Art (Yale University Press, 1986), p. 185, pl. 228.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 74–75 (detail), 76 (ill.), 118.

Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 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. 40. Translated by Richard Crevier as Monet, Masters’ Gallery (Arch Cape/Outlet Book, 1990), p. 62, pl. 40.

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 (ill.).

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 (ill.), 320.

Frank Milner, Monet (Mallard, 1991), pp. 19, 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 as Monet: The Ultimate Impressionist (Abrams, 1993), p. 81 (ill.).

Sophie Fourny-Dargère, Monet, Profils de l’art (Chêne, 1992), pp. 100–101, fig. 2.

Scott Reyburn, Monet (Medici Society, 1992), cover (ill.).

Virginia Spate, Claude Monet: Life and 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 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. 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 Light (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 (ill.).

Richard Thomson, Monet to Matisse: Landscape Painting in France, 1874–1914, exh. cat. (National Galleries of Scotland, 1994), p. 164, n. 10.

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 25; 28; 71 (detail); 78, pl. 7; 107.

John Russell Taylor, Claude Monet: Impressions of France, From Le Havre to Giverny (Collins & Brown, 1995), p. 91 (ill.).

Daniel Wildenstein, Monet, or The Triumph of Impressionism, 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 Institute, 1996), pp. 282, cat. 758 (ill.); 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 Fall der Moderne, ed. Rolf Bothe and Thomas Föhl, exh. cat. (Hatje Cantz, 1999), pp. 18, fig. 3; 19; 28.

Art 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. 74 (ill.).

Maria Teresa Benedetti, Monet: I luoghi (Giunti, 2001), p. 26 (ill.).

National Gallery of Australia, Monet and Japan, exh. cat. (National Gallery of Australia/University of Washington Press, 2001), pp. 90, cat. 13 (ill.); 195.

Karin Sagner-Düchting, “Monet’s Late 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 Australia, Monet and Japan, exh. cat. (National Gallery 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 Sea, 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 (detail); 31.

Robert L. Herbert et al., Seurat and the Making of “La Grande Jatte,” exh. cat. (Art Institute of Chicago/University of California Press, 2004), pp. 57; 58–59, cat. 96 (ill.); 62; 276.

Madeleine Korn, “Exhibitions of Modern French Art and Their Influence on Collectors in Britain, 1870–1918: The Davies Sisters in Context,” Journal of the History of Collections 16, 2 (2004), pp. 199; 200, fig. 7.

Isabelle Cahn, L’impressionnisme, ou L’oeil naturel, L’aventure de l’art (Chêne, 2005), pp. 160–61 (detail), 215 (ill.), 222.

Frances Fowle, “Making Money out of Monet: Marketing Monet in Britain, 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. 11.

Robert L. 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 Art/Cleveland Museum of Art, 2006), pp. 89; 104–07, cat. 30 (ill.), fig. 52; 158; 184.

Anna Gruetzner Robins, “‘Slab of Pink and Lumps of Brown’: The Critical Reaction to the Exhibition of a Monet Grainstack Painting in Britain in 1893,” in Monet and French Landscape: 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 (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: Promise of Happiness, exh. cat. (Seoul Museum of 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 Institute of Chicago, rev. and expanded ed. (Art Institute of Chicago/Yale University Press, 2010; repr. 2013), p. 118, 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, 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 die Natur!: Barbizon, die Weimarer Malerschule und der Aufbruch zum Impressionismus, ed. Gerda Wendermann, exh. 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. 19: Cliff Walk at Pourville, 1882” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Sold by [unknown] to Hayes, by March 1, 1883. [1]

Acquired by Hermann Kapferer, Paris, by July 17, 1888. [2]

Sold by Hermann Kapferer, Paris, to Durand-Ruel, Paris, July 17, 1888, for 1,200 francs. [3]

Possibly sold by Durand-Ruel, Paris, to Mrs. Lewis Larned (Annie Swan) Coburn, Chicago, by April 26, 1928. [4]

Bequeathed by Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago, to the Art Institute of Chicago, 1933.

NOTES

[1] According to Galeries Durand-Ruel, Catalogue de l’exposition des oeuvres de Claude Monet, exh. cat. (Galeries Durand-Ruel, 1883), p. 2, cat. 20.

[2] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1888 (no. 1687); “Acheté par Durand-Ruel Paris (stock 1687) à Hermann Kapferer, Paris, le 17 juillet 1888 pour 1200 francs, Promenade, mer ou Promenade sur la falaise,” 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, Art Institute of Chicago. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 283–84, cat. 758, does not include Hermann Kapferer in the painting’s provenance; it says the painting was “purchased from Monet by Durand-Ruel in October 1882.” This information is also included in 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. According to Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago, there is nothing in the Durand-Ruel Archives to support the claim that Durand-Ruel purchased the painting from Monet in October 1882: “nous n’avons aucune preuve de cette acquisition.” Hermann Kapferer was no relation to collectors Henri or Marcel Kapferer.

[3] The transaction is recorded in Durand-Ruel, Paris, stock book for 1888 (no. 1687): According to the Durand-Ruel Archives, “Acheté par Durand-Ruel Paris (stock 1687) à Hermann Kapferer, Paris, le 17 juillet 1888 pour 1200 francs, Promenade, mer ou Promenade sur la falaise,” 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, Art Institute of Chicago. Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 283–84, cat. 758, does not include this in the provenance.

[4] See Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 19, cat. 22. There is a notation on the Art Institute’s Museum Registration Department Artists Sheets that reads, “Durand-Ruel 995 4/26/28,” and one on receipt 5300 that states “P995 D-R Ap ’26.” Both documents are on file in Museum Registration, Art Institute of Chicago. This sale cannot be confirmed with the Durand-Ruel Archives, for according to them, “on perd sa trace dans le stock Paris (995) en 1921. Nous ne savons pas à qui et quand Mrs Coburn l’a acquis” and “nous n’avons pas la moindre indication que Durand-Ruel ait vendu cette peinture à quelqu’un d’autre que Mrs. Coburn.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.




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