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

On the Bank of the Seine, Bennecourt

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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by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.



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, Galerie Georges Petit, Claude Monet—A. Rodin, June 21–Sept. 21, 1889, cat. 7, as Au bord de l’eau; Bennecourt. 1868. Appartient à M. Clapisson.

Boston, Copley Society, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin, Mar. 1905, cat. 78, as Argenteuil. 1868. Lent by Mrs. Potter Palmer.

Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, May 10–Nov. 1910, cat. 40, as Belle Isle, sunshine or cat. 41, as The river.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 291 (ill.).

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 208.

City Art Museum of St. Louis, Paintings by French Impressionists (1860–1880), Apr. 17–May 16, 1934, no cat.

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.

Edinburgh, Royal Scottish Academy, Claude Monet: An Exhibition of Paintings, Aug. 17–Sept. 15, 1957, cat. 13 (ill.); London, Tate Gallery, Sept. 26–Nov. 3, 1957.

New York, Wildenstein and Co., Masterpieces: Loan Exhibition of Paintings and Drawings; A Memorial Exhibition for Adele R. Levy, Benefit of the Citizens’ Committee for Children of New York, Inc., Apr. 6–May 7, 1961, cat. 40 (ill.).

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 17 (ill.).

Art Institute of Chicago, Frédéric Bazille and Early Impressionism, Mar. 4–Apr. 30, 1978, cat. 71 (ill.).

Paris, Galeries Nationales, Grand Palais, Hommage à Claude Monet (1840–1926), Feb. 8–May 5, 1980, cat. 18 (ill.).

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

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 47 (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, cat. 52 (ill.).

Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 18 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Edinburgh, National Gallery of Scotland, Lighting Up the Landscape: French Impressionism and Its Origins, Aug. 1–Oct. 19, 1986, cat. 86 (ill.).

Paris, Galeries Nationales, Grand Palais, Impressionnisme: Les origines, 1859–1869, Apr. 19–Aug. 8, 1994, cat. 141 (ill.); New York, Metropolitan Museum of Art, as Origins of Impressionism, Sept. 27, 1994–Jan. 8, 1995.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 15 (ill.).

Washington, D.C., Phillips Collection, Impressionists on the Seine: A Celebration of Renoir’s Luncheon of the Boating Party, Sept. 21, 1996–Feb. 23, 1997, cat. 1 (ill.).

Kunsthalle Bremen, Monet und Camille: Frauenportraits im Impressionismus, Oct. 15, 2005–Feb. 26, 2006, cat. 10 (ill.).

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

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

Publication History

Galerie Georges Petit, Claude Monet—A. Rodin, exh. cat. (Imp. de l’Art, 1889), p. 28, cat. 7.

Copley Society, Boston, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by August Rodin, exh. cat. (Copley Society, 1905), p. 25, cat. 78.

Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, exh. cat. (Art Institute of Chicago, 1910), cat. 40 or cat. 41.

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

Art Institute of Chicago, “Library Notes,” Bulletin of the Art Institute of Chicago 15, 5 (Sept.–Oct. 1921), p. 160 (ill.).

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

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 68, cat. 831.

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), pp. 62 (ill.); 146, cat. 831.

M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), pp. 18 (ill.), 19.

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), pp. 43, cat. 291; pl. 54/cat. 291.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

Art Institute of Chicago, “The Century of Progress Exhibition of the Fine Arts,” Bulletin of the Art Institute of Chicago 27, 4 (Apr. –May, 1933), p. 65.

C.[larence] J.[oseph] Bulliet, Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago, vol. 2 (Chicago Daily News/North-Mariano, 1933), no. 83 (ill.).

Daniel Catton Rich, “The Exhibition of French Art: ‘Art Institute’ of Chicago,” Formes 33 (1933), (ill.).

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. 36, cat. 208.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28 (ill.).

René Brimo, L’évolution du goût aux États-Unis, d’après l’histoire des collections (James Fortune, 1938), p. 159.

Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 1 (Durand-Ruel, 1939), p. 23.

Sheldon Cheney, The Story of Modern Art (Viking, 1941), p. 181 (ill.).

Ernst Scheyer, “Jean Frédéric Bazille–the Beginnings of Impressionism, 1862–1870,” Art Quarterly 5, 2 (Spring 1942), pp. 123, fig. 2; 125–26.

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

John Rewald, The History of Impressionism (Museum of Modern Art, New York/Simon & Schuster, 1946), p. 188 (ill.).

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 283.

Lionello Venturi, Impressionisti e Simbolisti: Da Manet a Lautrec . . . (Del Turco, 1950), pp. 56; fig. 50. Translated by Francis Steegmuller as Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, van Gogh, Toulouse-Lautrec (Charles Scribner’s Sons, 1950), pp. 56; fig. 50.

Art Institute of Chicago, “Homage to Claude Monet,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 26 (ill.).

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

Arts Council of Great Britain, Edinburgh International Festival 1957, Claude Monet: An Exhibition of Paintings, exh. cat. (Royal Scottish Academy, [1957]), pp. 42, cat. 13; pl. 16e.

William N. Eisendrath, Jr., “Water Lilies by Claude Monet,” Bulletin of the City Art Museum of St. Louis 42, 2 (1957), p. 16.

Edith Weigle, “The Wonderful World of Art,” Chicago Daily Tribune, May 26, 1957, p. E2 (ill.).

William C. Seitz, Claude Monet (Abrams, 1960), pp. 23, 78–79 (ill.).

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

Wildenstein and Co., Masterpieces: Loan Exhibition of Paintings and Drawings; A Memorial Exhibition for Adele R. Levy, Benefit of the Citizens’ Committee for Children of New York, Inc., exh. cat. (Wildenstein, 1961), p. 50, cat. 40 (ill.).

Yvon Taillandier, Monet, trans. A. P. H. Hamilton (Crown [1963]), p. 26 (ill.).

Rodolphe Walter, “Emile Zola et Claude Monet,” Les cahiers naturalistes 26 (1964), pp. 52–53.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (Sept. 1966), pp. 192, fig. 9; 194.

Joel Isaacson, “The Early Paintings of Claude Monet” (Ph.D. diss., University of California, Berkeley, 1967), pp. xii; 186–88; 197; 201; 205; 206; pl. 64.

Daniel Wildenstein, Monet: Impressions (International Art Book [Lausanne], 1967), p. 26.

Rodolphe Walter, “Critique d’art et vérité: Émile Zola en 1868,” Gazette des beaux-arts 73 (Apr. 1969), pp. 227; 228, fig. 2; 229; 230.

Rodolphe Walter, “Emile Zola à Bennecourt en 1868: Les vacances d’un chroniqueur,” Les cahiers naturalistes 37 (1969), p. 30.

Charles C. Cunningham and Satoshi Takahashi, Shikago Bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 54, cat. 40 (ill.); 160.

William Gaunt, The Impressionists (Thames & Hudson, 1970), pp. 78–79, pl. 12; 288.

John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 11, 81 (ill.), 284.

Gerald Needham, “The Paintings of Claude Monet, 1859–1878” (Ph.D. diss., New York University, 1971), pp. 176–79; 197; 198; 201; fig. 51.

Luigina Rossi Bortolatto, L’opera completa di Claude Monet: 1870–1889, Classici dell’arte 63 (Rizzoli, 1972), pp. 89, cat. 23 (ill.); 90.

Pierre Courthion, Impressionism, trans. John Shepley (Abrams, 1972), p. 14 (ill.).

Art Institute of Chicago, “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. 1973), p. 11.

Kermit Swiler Champa, Studies in Early Impressionism (Yale University Press, 1973), pp. 25; 27; 28; 59; 63, fig. 30.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 1, Peintures, 1840–1881 (Bibliothèque des Arts, 1974), pp. 39; 168; 169, cat. 110 (ill.); 447, pièce justificative 65.

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 24, 25–26.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 71, cat. 17 (ill.).

Alice Bellony-Rewald, The Lost World of the Impressionists (Weidenfeld & Nicolson, 1976), pp. 90–91 (ill.).

Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 20; 91, fig. 49.

J. Patrice Marandel and François Daulte, Frédéric Bazille and Early Impressionism, exh. cat. (Art Institute of Chicago, 1978), pp. 74; 138–39, cat. 71 (ill.).

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

Joel Isaacson, Claude Monet: Observation and Reflection (Phaidon/Dutton, 1978), pp. 8; 17; 18; 19; 72, pl. 24 (detail); 73, pl. 25; 197; 200; 211.

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 54–55 (ill.).

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 1 (Denoël, 1979), p. 247 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 21, n. 825;
249, letter 986.

Hélène Adhémar, Anne Distel, and Sylvie Gache, Hommage à Claude Monet (1840–1926), exh. cat. (Réunion des Musées Nationaux, 1980), pp. 84–86, cat. 18 (ill.).

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 194 (ill.), 437.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 114, pl. 6.

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 12, no. 10 (ill.); 67.

Art Institute of Chicago, Pocketguide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. 24, fig. 26; 62.

Robert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 73, 74, 75 (ill.), 76–77.

John Russell, “Monet as a Vital Link to the Future,” New York Times, Dec. 4, 1983, p. H33 (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), pp. 50–51 (detail), 365.

Scott Schaefer, “Rivers, Roads, and Trains,” 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. 154; 156, no. 47; 158.

Charles F. Stuckey, “Monet’s Art and the Act of Vision,” in Aspects of Monet: A Symposium on the Artist’s Life and Times, ed. John Rewald and Frances Weitzenhoffer (Abrams, 1984), pp. 106 (detail); 115, fig. 51; 116.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nihon Nippon Television Network, 1985), pp. 16; 52, cat. 18 (ill.); 53 (detail); 138–39, cat. 18 (ill.).

Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), front cover (detail), pp. 2 (detail), 4.

Scott Schaefer, “Rivières, routes et chemins de fer,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 155–56, no. 52 (ill.).

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 46, pl. 14.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), p. 44, n. 412.

Art Institute of Chicago, “Museum News,” Mosaic (Jan.–Feb. 1986), p. 11 (ill.).

National Gallery of Scotland, Lighting Up the Landscape: French Impressionism and Its Origins, exh. cat. (National Galleries of Scotland, 1986), front cover (detail), back cover (ill.); p. 72, cat. 86.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 10 (detail), 11, 13 (ill.), 118.

Douglas Skeggs, River of Light: Monet’s Impressions of the Seine (Victor Gollancz, 1987), pp. 50 (ill.), 51–54, 68, 150.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society/Little, Brown, 1988), pp. 8, 54 (ill.), 167.

Michel Péricard, in collaboration with Laure Blanchet, Les peintres et les Yvelines (Sogemo, 1988), pp. 17 (ill.), 140 (detail), 141.

Rodolphe Walter, “Aux sources de l’impressionnisme: Bennecourt,” L’oeil 393 (Apr. 1988), pp. 33–34, fig. 7; 35–36.

Francesco Arcangeli, Monet (Nuova Alfa, 1989), pp. 42–43; 96, fig. 22; 154.

Don Buschlen and Lawrence Kreisman, Gantner: A Life in the Country (Gantner: La vie à la campagne), with an introduction by Barrie Mowatt, trans. Carole Clement (Buschlen-Mowatt Gallery, 1989), pp. 49 (ill.), 204.

Michael Howard, Monet (Brompton, 1989), pp. 33, 52–53 (ill.).

Musée Rodin, Claude Monet-Auguste Rodin: Centenaire de l’exposition de 1889, exh. cat. (Musée Rodin, 1989), pp. 54, 74 (ill.).

Ronald R. Bernier, “Depiction and Criticism: Aspects of Monet’s Art 1874–1895” (Ph.D. diss., Essex University, 1990), pp. 96–103; 106; 108; 115; 302; fig. 15.

David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism (National Gallery, London/Yale University Press, 1990), pp. 122; 123, pl. 82.

Margaret Carroll, “Chicago’s Debt: Art Institute Owes Much to 1890s Patrons,” Chicago Tribune, July 15, 1990, p. 4 (ill).

Jean Paul Crespelle, Guide de la France impressionniste: Sites, musées, promenades, Les guides visuels (Hazan, 1990), cover (ill.); p. 51 (ill.).

Rodolphe Rapetti, Monet (Anaya/Giorgio Mondadori, 1990), p. 26, pl. 6. Translated by Richard Crevier as Monet, Masters’ Gallery (Arch Cape/Outlet Book, 1990), p. 26, pl. 6.

Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Benedikt Taschen, 1990), pp. 38, 42 (ill.), 45, 47. Translated by Karen Williams as Claude Monet, 1840–1926: A Feast for the Eyes, trans. (Taschen, 2004), pp. 38, 42 (ill.), 45, 47.

Michael Clarke, Corot and the Art of Landscape (British Museum Press, 1991), pp. 107, ill. 103; 110.

Charles F. Stuckey, French Painting (Hugh Lauter Levin/Macmillan, 1991), p. 141 (ill.).

Sophie Fourny-Dargère, Monet, Profils de l’art (Chêne, 1992), pp. 47, fig. 5 (detail), fig. 6; 156.
Mary Anne Stevens, “Villeneuve-la-Garenne,” in Alfred Sisley, ed. Mary Anne Stevens, exh. cat. (Royal Academy of Arts, London/Musée d’Orsay/Walters Art Gallery/Yale University Press, 1992), p. 112.

Russell Ash, The Impressionists’ River: Views of the Seine (Universe, 1992), pp. 8; 14–15 (ill.).

Scott Reyburn, Monet (Medici Society, 1992), p. 8 (ill.).

Virginia Spate, Claude Monet: Life and Work (Rizzoli/Thames & Hudson, 1992), pp. 52–53; 54; 59; 63, ill. 64; 83; 88; 138; 186–87; 191; 339.

Marianne Alphant, Claude Monet: Une vie dans le paysage (Hazan, 1993), pp. 192, 194, 355, 650.

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. 51 (ill.).

Valérie Bajou, Frédéric Bazille, 1841–1870 (Edisud, 1993), pp. 60; 164, ill. 90; 171.

Alexis Gregory, Families of Fortune: Life in the Gilded Age (Rizzoli, 1993), p. 157 (ill.).

Christoph Heinrich, Claude Monet, 1840–1926 (Benedikt Taschen, 1993), pp. 22 (ill.), 29, 94.

John Sillevis, et al., Licht, lucht en water: De verloren idylle van het riviergezicht, exh. cat. (Waanders Uitgevers Zwolle/Noordbrabants Museum’s-Hertogenbosch, 1993), pp. 29, fig. 16; 31.

Jean-Paul Crespelle, Monet, rev. ed. (Studio Editions, 1994), p. 13.

Steven Z. Levine, Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self (University of Chicago Press, 1994), pp. fig. 62; 114; 116; 125.

Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 297; 433, cat. 141/ill. 181.

Nancy Nunhead, Claude Monet (Barnes & Noble/Brompton, 1994), pp. 36–37 (ill.).

Gary Tinterow, “Figures dans un paysage,” in Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), p. 144, ill. 181/cat. 141.

Gary Tinterow, “Figures in a Landscape,” in Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), p. 144, fig. 181/cat. 141.

Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 297; 436, cat. 141/fig. 181.

Alexandra Bonfante-Warren, Country Life, Celebrations in Art (MetroBooks, 1995), (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 13; 15 (detail); 16–17; 36; 65; 74, pl. 3; 106.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 37, cat. 15 (ill.); 193; 218; 237; 242.

Genpei Akasegawa, Akasegawa Genpei no inshōha tanken 96 (Winter 1996), p. 30 (ill.).

Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), pp. 159, pl. 1 (ill.); 255.

Eliza E. Rathbone, “Renoir’s “Luncheon in the Boating Party”: Tradition and the New,” in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), p. 17.

Katherine Rothkopf, “From Argenteuil to Bougival: Life and Leisure on the Seine, 1868–1882,” in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), p. 64.

John Russell, “Renoir’s Paradise, and Those Who Loved It,” New York Times, Sept. 29, 1996, p. H39 (ill.).

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 68 (ill.), 70.

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), p. 56, cat. 110 (ill.).

Art Institute of Chicago, Pocketguide, selected by James N. Wood (Art Institute of Chicago, 1997), p. 16, no. 24 (ill.).

Carla Rachman, Monet (Phaidon, 1997), pp. 76–77, fig. 51; 78; 80; 81; 152.

Meyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 56; 57, fig. 12a, fig. 12b (detail); 58; 70–71; 251–53.

Genpei Akasegawa, The Impressionists, in Japanese (Kodansha, 1998), front cover (details); p. 1 (details), 3 (ill.), 4–5 (ill.).

Kermit Swiler Champa, “A Complicated Codependence,” in Monet and Bazille: A Collaboration, ed. David A. Brenneman, exh. cat. (High Museum of Art/Abrams, 1998), p. 91, fig. 51.

Charlotte Gere and Marina Vaizey, Great Women Collectors (Philip Wilson/Abrams, 1999), pp. 132, 133.

Henri Mitterand, Zola: Vol. 1 (1840–1871) (Fayard, 1999), p. 522.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), p. 54 (ill.).

Richard R. Brettell, Modern Art, 1851–1929: Capitalism and Representation (Oxford University Press, 1999), pp. 17; 181–82, fig. 116; 183.

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. 33 (ill.).

Asano Haruo and Nakamori Yoshimune, Sezannu to sono jidai [Cezanne and his time], Library of World Art and Artistic Theory 7 (Toshindo, 2000), pp. 40; 41, fig. 32.

Richard R. Brettell, Impression: Painting Quickly in France, 1860–1890, exh. cat. (Sterling and Francine Clark Art Institute/Yale University Press, 2000), pp. 112, fig. 66; 113.

Ivan Olson, The Arts and Critical Thinking in American Education (Bergin & Garvey, 2000), pp. 16; ill. 2.1.

Belinda Thomson, Impressionism: Origins, Practice, Reception (Thames & Hudson, 2000), pp. 97, ill. 90; 98; 266.

Charles Stuckey, “Monet e la Senna,” in Monet: I luoghi della pittura, ed. Marco Goldin, exh. cat. (Linea d’Ombra, 2001), p. 52 (ill.).

Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 1 (Teaching Co., 2002), pp. 63, 74, 173.

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 32; 33, no. 20 (ill.); 294.

Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 22 (ill.).

Marco Goldin, ed., Monet, la Senna, le ninfee: Il grande fiume e il nuovo secolo, exh. cat. (Linea d’Ombra, 2004), p. 310.

Dorothee Hansen, “Monet und Camille: Biographie einer Beziehung,” in Monet und Camille: Frauenportraits im Impressionismus, ed. Dorothee Hansen and Wulf Herzogenrath, exh. cat. (Kunsthalle Bremen/Hirmer, 2005), pp. 25 (ill.), 28.

Dorothee Hansen and Wulf Herzogenrath, eds., Monet und Camille: Frauenportraits im Impressionismus, exh. cat. (Kunsthalle Bremen/Hirmer, 2005), pp. 78–79, cat. 10 (ill.); 90; 128; 187, cat. 10 (ill.). Translated by John Southard, Holly Richardson, and Elizabeth Volk as Monet and Camille: Portraits of Women in Impressionism (Kunsthalle Bremen, 2005), pp. 25–26, cat. 10 (ill.); 32; 50.

Birgit Zeidler, Claude Monet: Life and Work, trans. Paul Aston in association with Goodfellow & Egan (Könemann, 2005), p. 30 (ill.).

Christopher Riopelle, “Rowers at Argenteuil, about 1873–4,” in Renoir Landscapes 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat (National Gallery, London, 2007), p. 142.

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 and Co., 2007), p. 112.

Ruth Butler, Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet, and Rodin (Yale University Press, 2008), pp. 138, 139 (ill.).

Jeanne-Marie David, “Une étude de la signature de Claude Monet,” Zeitschrift für Kunsttechnologie und Konservierung 22, 2 (2008), front cover (ill.); pp. 303; 304, fig. 8.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 13 (ill.); 48–49, cat. 13 (ill.); 111. Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 13 (ill.); 48–49, cat. 13 (ill.); 111.

Stéphane Lambert, L’adieu au paysage: Les Nymphéas de Claude Monet (Éd. de la Différence, 2008), pp. 21, fig. 5; 63; 119.

Denis Rouart, “Appearances and Reflections,” in Denis Rouart and Jean-Dominique Rey, Monet, Water Lilies: The Complete Series, with a cat. rais. by Julie Rouart, trans. David Radzinowicz (Flammarion/Rizzoli, 2008), pp. 22, 38, 48. Simultaneously revised and published in French as Denis Rouart and Jean-Dominique Rey, with a cat. rais. by Julie Rouart, Monet, les nymphéas (Flammarion, 2008).

James H. Rubin, Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (University of California Press, 2008), p. 136.

Charles Stuckey, “Monet et la vision immediate (Monet and the Act of Vision),” in Musée Marmottan Monet, Monet, l’oeil impressionniste (Monet, the Impressionist’s eye),” exh. cat. (Musée Marmottan Monet, 2008), pp. 37; 38, fig. 2; 39–40.

Jay A. Clarke, Becoming Edvard Munch: Influence, Anxiety, and Myth, exh. cat. (Art Institute of Chicago/Yale University Press, 2009), pp. 14; 15, fig. 4; 203 (ill.); 226, cat. 126.

Renée Grimaud, 50 ans d’expositions au Grand Palais, Galeries nationales (Réunion des Musées Nationaux, 2009), p. 104 (detail).

Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 110 (ill.).

David Clarke, Water and Art: A Cross-Cultural Study of Water as Subject and Medium in Modern and Contemporary Artistic Practice (Reaktion, 2010), pp. 87; 88, ill.. 32; 89.

Michael H. Duffy, The Influence of Charles-François Daubigny (1817–1878) on French Plein-Air Landscape Painting: Rustic Portrayals of Everyday Life in the Work of a Forerunner to Impressionism, with a preface by Fronia E. Wissman (Edwin Mellen, 2010), p. 111.

Stephen F. Eisenman, “Frédéric Bazille, View of a Village,” in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira/Rizzoli, 2010), p. 210.

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 48; 76; 77, fig. 5.1; 78–79; 80, fig. 5.2, fig. 5.3; 81, fig. 5.4, fig. 5.5, fig. 5.6, fig. 5.7; 82, fig. 5.8, fig. 5.9; 83–85; 95–96; 98; 102; 104; 182; 219–20; 251, n.17; 259, n. 9.

Ségolène Le Men, Monet (Citadelles & Mazenod, 2010), pp. 122; 124–25, ill. 100.

Jane Mayo Roos, Auguste Rodin (Phaidon, 2010), p. 6, fig. 2.

Charles F. Stuckey, “Jean-Baptiste Camille Corot, Ville-d’Avray: the Birch,” in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira/Rizzoli, 2010), p. 146.

William Rubin, A Curator’s Quest: Building the Collection of Painting and Sculpture of the Museum of Modern Art, 1967–1988 (Overlook Duckworth, 2011), pp. 537, fig. 4.2; 538; 548.

Lynne D. Ambrosini, “Mirrored Waters: Reflections on Monet and His Predecessors,” in Monet in Giverny: Landscapes of Reflection, ed. Benedict Leca, exh. cat. (Cincinnati Art Museum, 2012), pp. 53, fig. 8; 54.

Christopher Lloyd, “Coastal Adventures, Riparian Pleasures: The Impressionists and Boating,” in Christopher Lloyd, Daniel Charles, and Phillip Dennis Cate, Impressionists on the Water, with a contribution by Giles Chardeau, exh. cat. (Fine Arts Museum of San Francisco/Skira Rizzoli, 2013), pp. 15; ill. 8.

“Cat. 14: On the Bank of the Seine, Bennecourt, 1868,” 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 Louis Aimé Léon Clapisson, Neuilly-sur-Seine, by June 21, 1889, for 500 francs. [1]

Sold by Louis Aimé Léon Clapisson, Neuilly-sur-Seine, to Durand-Ruel, Paris, Apr. 21, 1892, for 1,500 francs. [2]

Sold by Durand-Ruel, Paris, to Potter Palmer, Chicago, May 18, 1892, for 7,500 francs. [3]

By descent from Potter Palmer (died 1902), Chicago, to the Palmer family. [4]

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

NOTES

[1] The painting was lent by Clapisson to the exhibition Claude Monet; A. Rodin at Galerie Georges Petit, June 21–Sept. 21, 1889, as Au bord de l’eau; Bennecourt; see Galerie Georges Petit, Claude Monet; A. Rodin, exh. cat. (Imp. de l’Art, 1889), p. 28, cat. 7. Reprinted in Theodore Reff, ed., Miscellaneous Group Exhibitions, Modern Art in Paris 34 (Garland, 1981), n.pag. According to Anne Distel, the painting can be identified as Village de Bonnières in Clapisson’s notebooks. The price he paid is listed in the notebooks, but it is not known from whom he purchased the painting. See Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” in Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 352. While Clapisson did not record the date of purchase, Distel further suggests that—based on the dates associated with each notebook, and how Clapisson recorded purchases in each book—the painting was possibly purchased between 1879 and 1882. See Anne Distel to the Art Institute of Chicago, Sept. 3, 2013, curatorial object file, Art Institute of Chicago.

[2] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1891 (no. 2127, as Argenteuil), 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. The transaction is also recorded in Léon Clapisson’s notebook, see Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” in Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), p. 352.

[3] The transaction is recorded in the Durand-Ruel, Paris, stock book, for 1891 (no. 2127, as Argenteuil), 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] The painting was on loan from the Palmer family to the Art Institute of Chicago, intermittently, by 1922, according to Museum Registration department artists sheets on file in Museum Registration, Art Institute of Chicago.