On the Bank of the Seine, Bennecourt

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Claude Monet
French, 1840-1926

On the Bank of the Seine, Bennecourt, 1868

Oil on canvas
81.5 x 100.7 cm (32 1/16 x 39 5/8 in.)
Inscribed, lower left: Cl. Monet / 1868
Potter Palmer Collection, 1922.427

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 110

Here Claude Monet’s future wife, Camille Doncieux, sits on an island in the Seine River, looking toward the hamlet of Gloton, next to the town of Bennecourt, from which she and Monet have presumably rowed. This is the only painting to survive from the brief period that the couple spent in Gloton, which the novelist Émile Zola recommended to Monet as a cheap rural retreat that was easily accessible from Paris. Pentimenti (underpainting) suggest that in an early stage of the painting, Camille held a bonneted child, presumably the couple’s baby, Jean.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Georges Petit, Claude Monet: Auguste Rodin, June 21-August 1889, cat. 7.

Boston, Copley Hall, Monet, 1905, cat. 78.

The Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, August 1910, cat. 40.

The Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 291 (ill.).

The Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 208.

St. Louis, Missouri, City Art Museum, Exhibition of French Impressionism Form 1860-1880, April-May, 1934, no cat.

Edinburgh International Festival, Claude Monet, September 25-October 22, 1957, cat. 4 (ill), traveled to Minneapolis Institute of Arts, November 1-December 1, 1957, cat. 13 (ill.).

New York, Wildenstein and Co., Benefit Exhibition in Memory of Adele Rosenwald Levy, April 6-May 7, 1961, cat. 40 (ill.).

The Art Institute of Chicago, Paintings by Monet, March 15-May 11, 1975, cat. 17 (ill.).

Paris, Galeries nationales du Grand Palais, Hommage á Monet (1840-1926), February 8- May 5, 1980, cat. 8 (ill.).

Albi, Musée Toulouse Lautrec, Trésors impressionnistes du Musée de Chicago, June 27- August 31, 1980, cat. 10 (ill.).

Los Angeles, County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28-September 16, 1984, cat. 47 (ill.), traveled to the Art Institute of Chicago, October 23, 1984, January 6, 1985 and Paris, Galeries nationales du Grand Palais, February 8-April 22, 1985.

Edinburgh, National Galleries of Scotland, French Impressionism and Its Origins: Lighting Up the Landscape, August 1-October 19, 1986, cat. 86 (ill.).

Tokyo, Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18-December 17, 1985, cat. 18 (ill.), traveled to Fukuoka Art Museum, January 5-February 2, 1986 and Kyoto Municipal Museum of Art, March 4-April 13, 1986.

Paris, Musée Rodin, Claude Monet-Auguste Rodin: Centenaire de l’exposition de 1889, November 14, 1989-January 21, 1990, cat. 7 (ill.).

Paris, Galeries nationales du Grand Palais, Origins of Impressionism, April 10-August 8, 1994, cat. 141 (ill.), traveled to New York, Metropolitan Museum of Art, September 27, 1994-January 8, 1995.

The Art Institute of Chicago, Claude Monet: 1840-1926, July 22-November 26, 1995, cat. 15 (ill.).

Washington, DC, The Phillips Collection, Impressionists on the Seine: A Celebration of Renoir’s Luncheon of the Boating Party, September 21, 1996-February 9, 1997, cat. 1 (ill.).

London, The National Gallery, Impression: Painting Quickly in France, 1860-1890, November 1, 2000-January 28, 2001, fig. 66, traveled to Amsterdam, Van Gogh Museum, March 2-May 20, 2001 and Williamstown, Mass., Sterling and Francine Clark Art Institute, June 16-September 9, 2001.

Bremen, Kunsthalle Bremen, Monet und Camille: Frauenportraits im Impressionismus, 2005, cat. 110.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 13 (ill.).

Chicago, The Art Institute of Chicago, Becoming Edvard Munch: Influence, Anxiety, and Myth, February 14–April 26, 2009, cat. 126 (ill.).

Publication History

The Art Institute of Chicago Annual Report (Chicago, 1921), ill.

The Art Institute of Chicago, The Art Institute of Chicago Bulletin, 15 (Chicago 1921), p. 160 (ill.).

M. C., “Monets in the Art Institute, “ The Art Institute of Chicago Bulletin 19 (1925), p. 18, (ill.).

The Art Institute of Chicago, The Art Institute of Chicago Handbook of Sculpture, Architecture, Paintings and Drawings (Chicago, 1932), pp. 59 (ill.), 164.

D.C. Rich, “The Exhibition of French Art, The Art Institute of Chicago,” Formes 33 (1933), ill. preceding p. 318.

Lionello Venturi, Les Archives de l’Impressionisme vol. 2 (Paris, 1939), p. 257.

S. Cheney, The Story of Modern Art (New York, 1941), p. 181, (ill.).

E. Scheyer, “Jean Frederic Bazille–The Beginnings of Impressionism,” The Art Quarterly 5 (1942), pp. 123, fig. 2, 125.

The Art Institute of Chicago, The Art Institute of Chicago Bulletin 37, 6 (1943), p. 86

F.A. Sweet, “Potter and the Painting Department,” The Art Institute of Chicago Bulletin, 37 (1943), p. 86, (ill.).

John Rewald, The History of Impressionism (New York, 1946), p. 188, (ill.).

Lionello Venturi, Impressionists and Symbolists (London, 1950), fig. 50 (ill.).

The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34 (ill.).

The Art Institute of Chicago Quarterly 51, 2 (1957), p. 26.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 318.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 134 (September 1966), pp. 194, 192 (fig. 9).

Rodolphe Waler, “Critique d’art et Vérité Emile Zola en 1868,” Gazette des Beaux-Arts (April 1969), pp. 227-229, 228, p. 227, fig. 2.

William Gaunt, Impressionism a Visual History (New York and Washington, 1970), p. 78.

John Maxon, The Art Institute of Chicago (New York, 1970), pp. 81 (ill.), 284.

Pierre Courthion, Impressionism (New York, 1972), p. 14 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné vol. 1 (Lausanne, 1974), no. 110 (ill.).

Alice Bellony Rewald, The Lost World of Impressionists (London, 1976), pp. 91, 90 (ill.).

The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), no. 49.

Roger Terry Dunn, The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889, Ph. D. diss. (Evanstone, Northwestern University, 1978), p. 246.

Joel Isaacson, Claude Monet: Observation and Reflection (Oxford, 1978), p. 200, no. 24-25 (ill.).

Sophie Monneret, Dictionnaire l’impressionisme et son époque (Paris, 1979), p. 247 (ill.).

Diane Kelder, The Great Book of Impressionism (New York, 1980), p. 194 (ill.).

John Russell, “Monet As A Vital Link to the Future,” New York Times (December 4, 1983), p. H33 (ill.).

Richard R. Brettell, French Impressionists (Chicago, 1987), pp. 11, 13 (ill.), 118.

Rodolphe Walter, “Aux source de l’Impressionnisme: Bennecourt,” L’Oeil 396 (April 1988), p. 34, fig. 7.

James N. Wood and Katharine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 54 (ill.).

Margaret Carroll, “Art Institute Owes Much to 1890s Patrons,” Chicago Tribune (July 15, 1990), ill.

Daniel Wildenstein, Monet vol. 2 (Cologne, 1996), no. 110 (ill.).

Kermit Swiler Champa and Diane W. Pitman, Monet Bazille: A Collaboration (Atlanta, 1999), p. 91, fig. 51.

Colin B. Bailey, Renoir Landscapes 1865-1883, ed. Colin B. Bailey and Christopher Riopelle, Exh. cat. (National Gallery Company Limited, 2007), p. 142.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 13, pp. 48-49 (ill.).

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artists Life, Chicago: The University of Chicago Press, 2010. p. 76-85, p. 96, p. 98, p. 104, p. 219, fig. 5.1.

Lynne D. Ambrosini, “Mirrored Waters: Reflections on Monet and His Predecessors,” Monet in Giverny: Landscapes of Reflecion. Edt. Benedict Leca. Exh. cat. (Cincinnati Art Museum, 2012), p. 53, fig. 8.

Ownership History

Léon-Marie Clapisson by 1889 [see Paris 1889]; sold to Durand-Ruel, Paris on April 21, 1892 [stock no. 2127]; sold to Potter Palmer (died 1902), Chicago on May 18, 1892; by descent in the Palmer family; bequeathed to the Art Institute, 1922.