Beach at Cabasson (Baigne-Cul)

1891–92

Henri Edmond Cross (French, 1856–1910)

In 1891, as a result of his rheumatoid arthritis, Henri Edmond Cross moved to Cabasson, a hamlet on the Côte d’Azur in southeastern France. The move deeply affected his art: after settling on the Mediterranean coast, he embraced the divided brushwork (small dashes and dots of color) and tonal gradations of “scientific Impressionism.” This methodical technique was a departure from the Impressionists’ more intuitive quick strokes of color to capture fleeting atmospheric conditions. In this beach scene, Cross used this more systematic paint application to convey the color and heat of his adopted region.

Status: On View, Gallery 240
Department: Painting and Sculpture of Europe

Artist: Henri Edmond Cross
Title: Beach at Cabasson (Baigne-Cul)
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1891–1892
Medium: Oil on canvas
Inscriptions: Inscribed lower left: henri Edmond Cross
Dimensions: 65.3 × 92.3 cm (25 3/4 × 36 3/8 in.); Framed: 82.6 × 108.6 × 6.4 cm (32 1/2 × 42 3/4 × 2 1/2 in.)
Credit Line: 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
Reference Number: 1983.513
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/100476/manifest.json

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: Akademie Verlag, 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.).
Cornelia Homburn, Neo-Impressionism and the Dream of Realities, exh. cat. (New Haven and London: Yale University Press, 2014), 113, 134, 139, 177 fig. 100.
Marina Ferretti Bocquillon, “Henry-Edmond Cross and Germany,” in Musée des Impressionismes, Giverny, Color and Light: The Neo-Impressionist Henri-Edmond Cross, exh. cat.. (Prestel, 2018) cover image; pp. 19
Daniel Zamani, “’To Paint Happiness’?: Henry-Edmond Cross’s Landscapes,” in Musée des Impressionismes, Giverny, Color and Light: The Neo-Impressionist Henri-Edmond Cross, exh. cat. (Prestel, 2018) cover image; pp. 23; 99, 256, cat. 14

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.
Giverny, Musée des Impressionismes, Color and Light: The Neo-Impressionist Henri-Edmond Cross, July 27 - November 4, 2018, cat. 14; Potsdam, Museum Barbarini, November 17, 2018 - February 17, 2019 [Giverny Only].

Baron Eberhard Freiherr von Bodenhausen-Degener (1868 - 1918), Munich [according to Billeter 2001]; possibly by descent to his wife Dora Freifrau von Bodenhausen (1877-1969). Martin Fabiani, Paris [this and the following according to Gallery Fine Arts Associates’ stock card, Otto Gerson Papers, Archives of American Art, copy in curatorial file]; sold to Gallery Fine Arts Associates (Otto Gerson), May 1951; sold to Mrs. Vincent Astor, Rhinebeck, New York, May 1951. Mr. and Mrs. Werner E. Josten, New York, by 1964 until at least 1968 [Compin 1964 and 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.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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