The Beach at Sainte-Adresse

CC0 Public Domain Designation

1867

Claude Monet (French, 1840–1926)

In the summer of 1867, Claude Monet stayed with his aunt at Sainte-Adresse, an affluent suburb of the port city Le Havre in northern France. The artist was familiar with the landscape, having grown up in the area, but the region changed signiﬁcantly during his lifetime. The expansion of the country’s rail network turned this small, rural ﬁshing village into a seaside resort for tourists. Here, Monet hinted at this transformation. The viewer is immediately drawn to the visible aspects of local life—dark-sailed fishing boats drift in the water, with groups of ﬁshermen, their equipment, and other craft on the shore. The beached boats frame two ﬁgures sitting on the shoreline, highlighted by a few strokes of red and yellow paint: a man in a dark hat and suit looks through a telescope, accompanied by a woman wearing a straw hat with a scarlet ribbon. The presence of this couple—undoubtedly vacationers, given their fashionable attire—changes what might have been a traditional coastal scene into a painting of modern life, one of the artist’s ﬁrst explorations of tourism.

Monet began this painting outdoors and revised it later in his studio. Conservation research has revealed that he changed his mind about the composition while he worked: he initially included other tourist ﬁgures and yachts in the scene but later painted over these details, shifting his focus to the ﬁshermen, the aspect of life in Sainte-Adresse that he knew best.

Monet’s seascapes from this summer are markedly different from those painted only a few years earlier, and Beach at Sainte-Adresse exempliﬁes his evolving painting technique. It also foreshadows some of the qualities that became characteristic of the Impressionist movement, which is perhaps why Monet chose to show it at the second Impressionist exhibition in 1876, nearly ten years after he painted it.

Status: On View, Gallery 225
Department: Painting and Sculpture of Europe

Artist: Claude Monet
Title: The Beach at Sainte-Adresse
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.: 1867
Medium: Oil on canvas
Inscriptions: Inscribed lower right: Claude Monet 67
Dimensions: 75.8 × 102.5 cm (29 13/16 × 40 5/16 in.); Framed: 104.1 × 130.2 × 11.4 cm (41 × 51 1/2 × 4 1/2 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1933.439
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/14598/manifest.json

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John Leighton, “Claude Monet,” in Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 203–04.
Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 215, pl. 97; 258.
John Leighton, Edouard Manet: Impressions of the Sea (Van Gogh Museum, 2004), pp. 47; 50, fig. 44.
Norio Shimada, Inshoha bijutsukan [The history of Impressionism] (Shogakukan, 2004), p. 76 (ill.).
Vanessa Gavioli, ed., Monet, Art Classics (Rizzoli, 2005), pp. 72–73 (ill.), 180 (ill.).
Roberto Tassi, “Monet’s Studio,” in Monet, ed. Vanessa Gavioli, Art Classics (Rizzoli, 2005), pp. 10–11 (detail).
Richard R. Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum, vol. 1 (Norton Simon Art Foundation/Yale University Press, 2006), p. 137, fig. 33a.
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. 58; 61, cat. 5 (ill.); 108; 183; 189.
Norio Shimada, Claude Monet, Great Masters of Western Art 1 (Shogakukan, 2006), p. 33 (ill.).
Joseph Baillio and Cora Michael, “Highlights of the Exhibition,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 185, 214.
John House, “Representing the Beach: The View from Paris,” in John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts/Thames & Hudson/Abrams, 2007), p. 23.
John House and David M. Hopkin, Impressionists by the Sea, exh. cat. (Royal Academy of Arts, London/Thames & Hudson/Abrams, 2007), pp. 2–4 (detail); 75; 76, cat. 32 (ill.); 125; 128; 130, cat. 32 (ill.); 131; 132.
Gary Tinterow, “Regatta at Sainte-Adresse,” in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art (Metropolitan Museum of Art, New York/Yale University Press, 2007), p. 136.
Paul Hayes Tucker, “Some Notes on Monet’s Practice,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 73, fig. 8; 74.
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.
Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 213 (ill.).
Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago/Yale University Press, 2009), p. 50 (ill.).
Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 109.
Joseph Baillio, “Monet à Sainte-Adresse en 1867,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 49, 54.
Pascal Bonafoux, Monet, peintre de l’eau (Chêne/Hachette, 2010), pp. 38 (ill.), 172.
Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 70, fig. 4.4; 82.
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. 2012), p. 52, cat. 16 (ill.).
John House, “Social Reality versus the Thrall of Convention: The French Nineteenth Century Landscape,” in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira/Rizzoli, 2010), p. 37.
John House, “Le sujet chez Monet,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 21, 27.
Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 110, cat. 16 (ill.).
Michael F. Zimmerman, “Radical Alienation—Radical Involvement: A Brief History of Subjectivity and Landscape up to Impressionism,” in From Corot to Monet: The Ecology of Impressionism, ed. Stephen F. Eisenman, exh. cat. (Skira/Rizzoli, 2010), pp. 114; 115, fig. 7.
Simon Kelly, “Regatta at Sainte-Adresse,” in Simon Kelly and April M. Watson with Maura Coughlin and Neil McWilliam, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (Saint Louis Art Museum/Nelson-Atkins Museum of Art, 2013), pp. 276; 277, fig. 78.
April M. Watson, “Brig upon the Water,” in Simon Kelly and April M. Watson with Maura Coughlin and Neil McWilliam, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (Saint Louis Art Museum/Nelson-Atkins Museum of Art, 2013), p. 270.
“Cat. 13: The Beach at Sainte-Adresse, 1867,” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470.
Museo Nacional Thyssen-Bornemisza, Monet/ Boudin, exh. cat. (Fundación Colección Thyssen-Bornemisza, 2018), pp. 65, 130-131, 269, cat. 26 (ill).
Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 24, 26, 47 cat. 14, 130.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 65 (ill.).

Possibly London, Durand-Ruel, Eighth Exhibition of the Society of French Artists, spring 1874, cat. 142, as Ste Adresse near Havre.
Paris, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 151, as La Plage à Sainte-Adresse. Appartient à M. Faure.
Paris, Galerie Georges Petit, Claude Monet—A. Rodin, June 21–Sept. 21, 1889, cat. 5, as Sainte-Adresse. 1867.
Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 19 (ill.).
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 292.
City Art Museum of St. Louis, Paintings by French Impressionists (1860–1880), Apr. 17–May 16, 1934, no cat.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 210.
Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 8 (paintings).
Kansas City, Mo., William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, French Impressionist Landscape Painting, Nov. 29–Dec. 30, 1936, cat. 23 (cover ill.).
Art Institute of Chicago, Masterpiece of the Month, June 30–July 31, 1945, no cat.
Kunsthaus Zürich, Claude Monet: 1840–1926, May 10–June 15, 1952, cat. 11 (ill.); Paris, Galerie Beaux-Arts, June 19–July 17, 1952, cat. 8 (ill.); The Hague, Gemeentemuseum, July 24–Sept. 22, 1952, cat. 9 (ill.).
Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
City Art Museum of St. Louis, Claude Monet: A Loan Exhibition, Sept. 25–Oct. 22, 1957, cat. 4 (ill.); Minneapolis Institute of Arts, Nov. 1–Dec. 1, 1957.
San Francisco, California Palace of the Legion of Honor, Painters by the Sea, July 1–30, 1961, no cat.; Santa Barbara (Calif.) Museum of Art, Aug. 8–Sept. 3, 1961.
Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 10 (ill.).
Northampton, Mass., Smith College Museum of Art, Jongkind and the Pre-Impressionists: Painters of the Ecole Saint-Siméon, Oct. 15–Dec. 5, 1976, cat. 90 (ill.); Williamstown, Mass., Sterling and Francine Clark Art Institute, Dec. 17, 1976–Feb. 13, 1977.
Paris, Galeries Nationales du Grand Palais, Hommage à Claude Monet (1840–1926), Feb. 8–May 5, 1980, cat. 16 bis (ill.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 9 (ill.).
Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 6 (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.
Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 6, 1986, cat. 31 (ill.); Fine Arts Museums of San Francisco/M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.
Leningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 27; Moscow, Pushkin Museum, June 10-July 30, 1988.
Paris, Galeries Nationales du Grand Palais, Impressionnisme: Les origines, 1859–1869, April 19–August 8, 1994, cat. 136; New York, Metropolitan Museum of Art, Origins of Impressionism, September 27, 1994–January 8, 1995.
Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 12 (ill.).
Art Institute of Chicago, Manet and the Sea, Oct. 20, 2003–Jan. 19, 2004, cat. 97 (ill.); Philadelphia Museum of Art, Feb. 15–May 30, 2004; Amsterdam, Van Gogh Museum, June 18–Sept. 26, 2004.
Fine Arts Museums of San Francisco, Monet in Normandy, June 17–Sept. 17, 2006, cat. 5 (ill.); Raleigh, North Carolina Museum of Art, Oct. 15, 2006–Jan. 14, 2007; Cleveland Museum of Art, Feb. 18–May 20, 2007 (Cleveland only).
London, Royal Academy of Arts, Impressionists by the Sea, July 7–Sept. 30, 2007, cat. 32 (ill.); Washington, D.C., Phillips Collection, Oct. 20, 2007–Jan. 13, 2008; Hartford, Conn., Wadsworth Atheneum Museum of Art, Feb. 9–May 11, 2008.
Paris, Galeries Nationales du Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–Jan. 24, 2011, cat. 16 (ill.).
Museo Nacional Thyssen-Bornemisza, Monet/ Boudin, exh. cat. (Fundación Colección Thyssen-Bornemisza, 2018), pp. 65, 130-131, 269, cat. 26 (ill).
Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 14.
Cologne, Wallraf-Richartz-Museum & Foundation Corbound, A Revolution in Art: Paris 1863-1875, From Salon to Impressionism, Mar. 15–July 28, 2024.

The artist (d. 1926); sold to Durand-Ruel, Paris, Feb. 28, 1873, for 400 francs [per Durand-Ruel, Paris, stock book for 1868–73 (no. 2585, as Marine, temps gris), 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]; probably sold to Jean-Baptiste Faure, Paris, by 1876 [per Wildenstein 1996; the Durand-Ruel Archives are unable to confirm Faure’s purchase, see Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold to Durand-Ruel, Paris, Jan. 9, 1893, for 7,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1891 (no. 2585, as Sainte-Adresse), 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]; sold to Henri Véver, Paris, Jan. 17, 1893, for 8,000 francs; sold Henri Véver, Paris, sale, Galerie Georges Petit, Paris, Feb. 1–2, 1897, lot 79, to Boulley, as the agent for Georges Kohn, Paris, for 9,000 francs [per Galerie Georges Petit, Paris, sale cat. Feb. 1–2, 1897, the Durand-Ruel Archives also confirms that the painting was “acheté à G. Kohn (et non pas Kahn)”; see Paul-Louis Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold jointly to Durand-Ruel, Paris, and Bernheim-Jeune, Paris, June 11, 1920, for 40,000 francs [per Durand-Ruel, Paris, stock book for 1921 (no. 11701, as Sainte-Adresse), 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]; sold to Annie Swan Coburn, Chicago (d. 1932), Feb. 8, 1923 [per Durand-Ruel, New York, deposit book for 1894–1925 (no. 8044, as Sainte-Adresse), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, dated Oct. 5, 2010, curatorial object file, see also a letter on Durand-Ruel letterhead, Mar. 18, 1932, verifying that Coburn purchased the painting from Durand-Ruel] Bequeathed to the Art Institute of Chicago, 1933.

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 92

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