About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Seascape, 1879

Oil on canvas
72.6 x 91.6 cm (28 1/2 x 36 in.)
Inscribed lower right: Renoir'79

Potter Palmer Collection, 1922.438

This work is featured in the online catalogue Renoir Paintings and Drawings at the Art Institute of Chicago, the second volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 25 artworks by Pierre-Auguste Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

Possibly Paris, Durand-Ruel, Exposition A. Renoir, May 1892, cat. 100.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 27 (ill.).

Highland Park, Ill., Neison Harris, Mar. 7–May 21, 1975, no cat.

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 120 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales, Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985.

Edinburgh, Royal Scottish Academy, Monet: The Seine and the Sea, 1878–1883, Aug. 6–Oct. 26, 2003, cat. 89 (ill.).

Art Institute of Chicago, Manet and the Sea, Oct. 20, 2003–Jan. 19, 2004, cat. 117 (ill.); Philadelphia Museum of Art, Feb. 15–May 30, 2004; Amsterdam, Van Gogh Museum, June 18–Sept. 26, 2004.

London, National Gallery, Renoir Landscapes, 1865–1883, Feb. 21–May 20, 2007, cat. 45 (ill.); Ottawa, National Gallery of Canada, June 8–Sept. 9, 2007; Philadelphia Museum of Art, Oct. 4, 2007–Jan. 6, 2008.

Publication History

Possibly Durand-Ruel, Paris, Exposition A. Renoir, exh. cat. (Imp. de l’Art/E. Ménard, 1892), p. 47, no. 100.

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 69, cat. 845.

Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.

Art Institute of Chicago, “The Potter Palmer Collection of Paintings,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 38.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 150, cat. 845.

Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L. Van Doren and Randolph T. Weaver (Knopf, 1925), p. 239.

M. C., “Renoirs in the Institute,” Bulletin of the Art Institute of Chicago 19, 3 (Mar. 1925), p. 32.

M. C., “Renoirs in the Institute (Continued),” Bulletin of the Art Institute of Chicago 19, 4 (Apr. 1925), p. 47 (ill.).

Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 120, no. 109 (ill.).

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für Freunde und Sammler der Kunst 11, 3 (Mar. 1933), p. 78. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

Ulrich Thieme and Felix Becker, “Renoir,” in Allgemeines Lexikon der Bildenden Künstler, vol. 28, Ramsden–Rosa (Seemann, 1934), p. 170.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 74; 75; 451, no. 92.

Duveen Galleries, New York, Renoir: Centennial Loan Exhibition, 1841–1941; For the Benefit of the Free French Relief Committee, exh. cat. (Vilmorin/Bradford, 1941), p. 132.

Frederick A. Sweet, “Potter Palmer and the Painting Department,” Bulletin of the Art Institute of Chicago 37, 6 (Nov. 1943), p. 86.

Florence Hope, “A Late Renoir Recently Added to the Institute’s Collection,” Bulletin of the Art Institute of Chicago 39, 7 (Dec. 1945), p. 98.

Ishbel Ross, Silhouette in Diamonds: The Life of Mrs. Potter Palmer (Harper & Bros., 1960), p. 155.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 396.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 53, pl. 39; 160.

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 80; 82–83, cat. 27 (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. 366.

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. 288; 290; 291, no. 120 (ill.).

Sylvie Gache-Patin and Scott Schaefer, “La mer,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 308; 312–13, no. 120 (ill.).

Nicholas Wadley, ed., Renoir: A Retrospective (Hugh Lauter Levin/Macmillan, 1987), p. 195, pl. 65.

Michael Howard, ed., The Impressionists by Themselves: A Selection of Their Paintings, Drawings, and Sketches with Extracts from Their Writings (Conran Octopus, 1991), pp. 256 (ill.), 320.

Lesley Stevenson, Renoir (Bison Group, 1991), pp. 100–01 (ill.).

Shigenobu Kimura et al., Seikimatsu no yume / The Dream of Fin de Siècle, Meigo e no tabi / Journey into the Masterpieces 21 (Kodansha, 1992), pp. 70, pl. 3-24; 144.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 204, fig. 36.

Francesca Castellani, Pierre-Auguste Renoir: La vita e l’opera (Mondadori, 1996), pp. 73, 137 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 33 (detail); 46; 72; 89, pl. 8; 110.


Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), p. 121 (ill.).

Michael Clarke and Richard Thomson, Monet: The Seine and the Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), p. 165, cat. 89 (ill.).

Joseph J. Rishel, “Pierre-Auguste Renoir,” in Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), p. 243.

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), p. 33.

Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 248, pl. 117; 261.

Frank Whitford, “A Lasting Impression,” Sunday Times (Scotland), Aug. 10, 2003, p. 17.

Isabelle Cahn, L’impressionnisme, ou l’oeil naturel, L’aventure de l’art (Chêne, 2005), pp. 52 (ill.), 219.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), pp. 33–34 (ill.).

Heather Lemonedes, Lynn Federle Orr, and David Steel, eds., Monet in Normandy, exh. cat. (Fine Arts Museums of San Francisco/North Carolina Museum of Art/Cleveland Museum of Art/Rizzoli, 2006), pp. 33; 34, fig. 21.

Colin B. Bailey, “‘The Greatest Luminosity, Colour and Harmony’: Renoir’s Landscapes, 1862–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 65. Translated as Colin B. Bailey, “‘Un maximum de luminosité; de coloration, et d’harmonie”: Les paysages de Renoir, 1862–1883,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 65.

Colin B. Bailey and Christopher Riopelle, eds., Renoir Landscapes, 1865–1883, exh. cat. (National Gallery, London, 2007), pp. 2–3 (detail); 4; 199–202, cat. 45 (ill.); 256. Translated by Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer as Les paysages de Renoir, 1865–1883, exh. cat. (National Gallery, London/5 Continents, 2007), pp. 2–3 (detail); 4; 199–202, cat. 45 (ill.); 256.

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 211, cat. 152 (ill.).

Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 276. Translated as Robert McDonald Parker, “Chronologie,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 276.

Charles Stuckey, “The Predications and Implications of Monet’s Series,” in The Repeating Image: Multiples in French Painting from David to Matisse, ed. Eik Kahng, exh. cat. (Walters Art Museum/Yale University Press, 2007), pp. 122–23, n. 22.

Richard R. Brettell and C. D. Dickerson III, From the Private Collections of Texas: European Art, Ancient to Modern (Kimbell Art Museum/Yale University Press, 2009), p. 302, fig. 2.

John House, The Genius of Renoir: Paintings from the Clark, with an essay by James A. Ganz, exh. cat. (Sterling and Francine Clark Art Institute/Museo Nacional del Prado/Yale University Press, 2010), p. 74.

“Cat. 8: Seascape, 1879,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Acquired from [unknown] by Alphonse Legrand, Paris, by Feb. 21, 1890. [1]

Sold by Alphonse Legrand, Paris, to Durand-Ruel, Paris, Feb. 21, 1890. [2]

Sold by Durand-Ruel, New York, to W. C. Van Horne, Montreal, Apr. 19, 1892, for $1,000. [3]

Acquired by Eugene Glaenzer, New York, by Dec. 14, 1892. [4]

Sold by Eugene Glaenzer, New York, to Durand-Ruel, New York, Dec. 14, 1892. [5]

Sold by Durand-Ruel, New York, to Potter Palmer, Chicago, Dec. 14, 1892, for $1,250. [6]

By descent from Potter Palmer (died 1902), Chicago, to the Palmer family. [7]

Given by the Palmer family to the Art Institute of Chicago, 1922.

NOTES

[1] According to Durand-Ruel, Paris, stock book for 1884–90 (no. 2637): “Acheté par Durand-Ruel Paris (stock 2637) à Alp. Legrand, 44 rue de Londres (Paris), le 21 février 1890, Marine,” 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.

[2] This transaction is recorded in the Durand-Ruel, Paris, stock book for 1884–90 (no. 2637, as Marine): “Acheté par Durand-Ruel Paris (stock 2637) à Alp. Legrand, 44 rue de Londres (Paris), le 21 février 1890, Marine,” 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. According to the same letter, the Durand-Ruel Archives do not know what price was paid for the painting.

[3] This transaction is recorded in the Durand-Ruel, New York, stock book for 1888–93 (no. 900, as Marine or Stormy sea on the coast near Dieppe): “Vendu par Durand-Ruel New York (stock 900) à W.C. Van Horne, Montréal, le 19 avril 1892 pour $1000, Marine ou Stormy sea on the coast near Dieppe,” 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.

[4] According to Durand-Ruel, New York, stock book for 1888–93 (no. 1011, Marine): “Acheté par Durand-Ruel NY (stock 1011) à Glaenzer le 14 décembre 1892,” 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. Eugene Glaenzer managed the New York branch of Boussod, Valadon & Cie until around 1902 when the branch closed; see “Art Notes,” New York Times, Jan. 20, 1902, p. 2.

[5] This transaction is recorded in the Durand-Ruel, New York, stock book for 1888–93 (no. 1011, Marine): “Acheté par Durand-Ruel NY (stock 1011) à Glaenzer le 14 décembre 1892,” 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. According to the same letter, the Durand-Ruel Archives do not know what price was paid for the painting but are able to confirm that it was titled Marine.

[6] This transaction is recorded in the Durand-Ruel, New York, stock book for 1888–93 (no. 1011, Marine): “Vendu par Durand-Ruel NY (stock 1011) à Potter Palmer le 14 décembre 1892 pour $1250, Marine,” 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.

[7] This painting was on loan from the Palmer family to the Art Institute of Chicago, intermittently, by 1921, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.




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