Technical Summary

Claude Monet’s On the Bank of the Seine, Bennecourt was painted on a pre-primed, no. 40 portrait (figure), standard-size linen canvas. A stamp from the color merchant Deforge[-Carpentier]^[33] was documented on the back of the original canvas before lining. The off-white ground consists of a single layer. A few charcoal particles were observed microscopically in the water on the right side of the painting, which could be related to underdrawing, but insufficient material was observed to draw any conclusions about its nature or extent. The painting was carried out in several sessions and includes some major revisions to the composition, most significantly the painting out of a figure to the immediate right of the female figure. What is perhaps the face of the painted-out figure remains partially visible through the artist’s roughly-applied overpaint. The two figures appear to have been painted within a relatively short time span, and may even have coexisted within the composition at some point. Both figures were added to the work later in the painting process on top of the landscape. The tiny figures and animals on the opposite side of the river were also added later. Other changes made to the landscape include some forms on the hilltop on the right side that were subsequently covered by the sky and alterations to the foreground riverbank in the area of the female figure. It seems that some parts of the reflection in the river capture the landscape and sky at earlier painting stages, resulting in some apparent discrepancies between what is depicted in the actual landscape and what is reflected in the water. There are several old damages to the canvas and paint layers, and repairs and retouching in these areas may date to early in the painting’s history.^[34]17

Multilayer Interactive Image Viewer

The multilayer interactive image viewer is designed to facilitate the viewer’s exploration and comparison of the technical images (fig. 14.22).^[35]
18

Signature

Signed and dated: Cl Monet 1868 (lower left, dark reddish-brown paint) (fig. 14.23).^[36] The signature and date contain similar pigments but are mixed in different proportions, as evidenced by their slightly different hues when viewed under magnification; they also exhibit a slightly different fluorescence from one another under UV, ultraviolet light (fig. 14.24).^[37] Both were applied when the underlying paint was dry.
19

Structure and Technique

Support

Canvas
Flax (commonly known as linen).^[38]20

Standard format
The original dimensions were approximately 81 × 100 cm. This corresponds to a no. 40 portrait (figure) standard-size canvas, turned horizontally.^[39]21

Weave
Plain weave. Average thread count (standard deviation): 28.7V (1.3) × 30.3H (0.8) threads/cm. It was determined that the horizontal threads correspond to the warp and the vertical threads to the weft.^[40] No weave matches were found with other Monet paintings analyzed for this project.22

Canvas characteristics
There is mild cusping on the left and right sides, with more pronounced cusping along the top and especially along the bottom edge.23

Stretching
Current stretching: Dates to 1973 conservation treatment (see Conservation History). Copper tacks spaced approximately 6–7 cm apart. It appears that the canvas was stretched slightly larger than its original dimensions, with approximately 0.5 cm of unpainted tacking margin visible on the left, right, and top edges.24

Original stretching: Tack holes spaced approximately 5–7 cm apart.25

Stretcher/strainer
Current: Four-membered ICA spring stretcher. Depth: 2.5 cm.26

Original: Discarded. An undated pre-1973-treatment report indicates that the previous stretcher consisted of six members, including horizontal and vertical crossbars, with mortise and tenon joints and keys. The report gives the following dimensions: overall, 82 × 100 cm; outside depth, 2 cm; inside depth, 2 cm; width, 6.5 cm.^[41]27

Manufacturer’s/supplier’s marks
There is a supplier’s stamp on the back of the original canvas, which was photographed before the painting was lined in 1973 (see Conservation History): “DEFORGE … / COULEURS FINES / ET TOILES à PEINDRE / [Boulevard] Montmartre, 8 / PARIS / Atelier Rue Legendre … Batignolles”(fig. 14.25, fig. 14.26).^[42]
28

Preparatory Layers

Sizing
Not determined (probably glue).^[43]29

Ground application/texture
The ground extends to the edges of the top, left, and right tacking margins but appears to stop short of the bottom edge (fig. 14.27).^[44] This indicates that the canvas was cut from a larger piece of primed fabric on the top, left, and right sides; the bottom edge probably corresponds to the edge of the larger roll of canvas that was attached to the frame during priming. The canvas was probably commercially prepared. The ground consists of a single layer that ranges from approximately 15 to 80 µm in thickness (fig. 14.28).
30

Color
The ground layer is off-white.31

Materials/composition
Analysis indicates that the ground contains lead white with minor amounts of iron oxide red and yellow, and traces of bone black, alumina, calcium-based white, barium sulfate, and silicates.^[45]32

Compositional Planning/Underdrawing/Painted Sketch

Extent/character
No evidence of underdrawing was detected with infrared reflectography; however, a few localized areas of black particulate matter were observed microscopically in the water, on the right side of the painting (fig. 14.29). It is uncertain whether this material is related to preparatory drawing. In some areas, the black particles seem to lie on top of the paint layer and may have been picked up by the brush in the process of painting (fig. 14.30).
33

Medium/technique
Charcoal.^[46]34

Revisions
If the material is related to preparatory drawing, the amount observed on the surface of the painting is insufficient to draw any conclusions about the extent of the underdrawing or any revisions to the original compositional plan.35

Paint Layer

Application/technique and artist’s revisions
Most of the landscape was built up in broad, relatively flat planes of color. In some areas, the paint was quite thinly applied, especially at the junctures of forms, where the ground layer remains partially exposed (fig. 14.31). It appears that the composition was laid in with thin layers of more subdued tones than those used in the final painting; for example, dull greens and earth tones are observed throughout the landscape (fig. 14.32, fig. 14.33). The underpainting of the sky varies from warm cream to pinkish-gray and continues underneath the foliage to the left edge of the painting. The brush-marked texture of this underlayer remains visible at breaks in the brushwork and through some of the thin layers of paint applied on top (fig. 14.34). The streaky, more radio-opaque forms visible in the upper-left corner seem to correspond to this underlayer (fig. 14.35).^[47] Most of the foreground bank was quickly brushed in using dilute green paint; further buildup in this area was mostly limited to the touches of white and yellow flowers (fig. 14.36). The painting was carried out in several sessions and includes both wet-over-dry and wet-in-wet paint application at various stages. The landscape was well established before any of the figures or animals were added. The female figure in the foreground, as well as the figures and animals on the other side of the river, were painted on top of the landscape, in some cases, when the brushstrokes from the landscape were already surface dry (fig. 14.37, fig. 14.38).
36

Figs. 14.36–14.38

Several compositional changes have been made to the painting, and some areas were never fully resolved by the artist. This makes it somewhat challenging to reconstruct the evolution of the work. It is clear, even to the unaided eye, however, that another figure was originally included in the composition immediately to the right of the female figure. This figure was subsequently painted out, but elements of what may be the head and face remain partially visible on the surface (fig. 14.39). The brushwork outlining the head, which is rather thick and suggestive of a hat or a bonnet, and the flesh-toned paint of the face can be seen through the thin layers of artist’s overpaint applied on top (fig. 14.40). One interpretation of this pentimento is that the figure is a child who stands on the female figure’s lap, facing out toward the viewer.^[48] There are two other localized areas of flesh-colored paint, partially visible underneath the gray, artist’s overpaint further down in the composition (fig. 14.41, fig. 14.42, fig. 14.43). These areas have been interpreted as the right hand of the woman grasping the right hand of the child (on the left side) and the outstretched left hand of the child (on the right side).^[49] The recent technical examination offers an alternative interpretation for consideration, namely, that the painted-out figure is an adult female, who sits facing the viewer (fig. 14.44). The scale of the head and the facial features (which seem to be indicated by localized areas of deep-red paint partially visible on the surface) (fig. 14.45) may be more in keeping with an adult figure than a child. The radio-opaque, lead white–rich strokes, which are visible in the X-ray below the head and continue down to the edge of the grassy bank, seem to be related to the body of the painted-out figure (fig. 14.46). The upper part of this white brushwork was roughly covered by the artist while the lower area was incorporated into the final painting and has sometimes been interpreted as a dog perched on the female figure’s lap.^[50] Further examination of the X-ray reveals another form just below the painted-out head. It is tempting to read this as the head of an infant child or a doll wearing a bonnet (possibly cradled in the lap of the painted-out figure)—and, in fact, one of the small areas of flesh-toned paint corresponds to where the face of this child or doll would be located (fig. 14.47)—but this is more speculative (fig. 14.48).
37

Both the painted-out figure and the final female figure were painted on top of the landscape, the water, and the reflections of the buildings. In some places, the paint from the landscape was still wet. For example, the gray stroke on the left edge of the painted-out head was dragged through the still-soft paint of the corner of the reflected building and the foliage from the layers underneath (fig. 14.49). Similarly, the edge of the final female figure’s right shoulder appears to be wet-in-wet with the pale-blue-gray paint layer of the water (fig. 14.50). The buildings and foliage reflected in the water continue underneath the edge of this figure’s head (fig. 14.51) and are visible microscopically through drying cracks and tiny gaps in her hair (fig. 14.11); the hair appears to have been painted wet-on-wet with the thick white strokes of the building’s reflection at the upper front and back of the head (fig. 14.52). It is evident, through the open brushwork of the blue-striped dress, which becomes increasingly sketchy below the figure’s waist, that her body was also painted over the water, grass, and foliage (fig. 14.53). In the area of the water to the left of the figure’s back, dark-green paint is sandwiched between layers of blue from the water. This seems to indicate that at one point the grassy bank was extended further out over the water on the left side of the painting (fig. 14.54, fig. 14.55).^[51] In the area between the two tree trunks, the grass itself, including one of the yellow flowers continues underneath the upper blue layer where the water was extended over the grass. Some of the dark-green paint from the earlier shoreline can still be seen through the open brushwork of the woman’s dress (fig. 14.55). In this area, the green paint appears to have been applied wet-in-wet over a pale-blue layer, presumably the first painting of the river. The brighter-blue layer applied on top was added when the underlying greenery was dry. This bright-blue paint from the water continues under the figure’s back, where it stands in for the blue stripes of the dress in places (fig. 14.56). The blue paint looks like it was still slightly wet in places when the dress was painted. The skirt was painted on top of the grass and some of the yellow flowers (the two at waist level), while the two lower flowers were added on top of the skirt (fig. 14.57). The pale-green patch of grass and yellow flowers left of the figure were also added later; there is some wet-in-wet mixing with the pale gray of the edge of the skirt. The bright white strokes to the right of the woman (sometimes interpreted as a dog),^[52] appear to have originally been part of the painted-out figure. The white brushwork was also applied over the brighter blue of the water and some of the dark-green and brown paint (applied wet-in-wet on top of the water) that appears to be related to a branch or vine (or reflection of such) that continues on either side of the white form (fig. 14.58). The small flesh-tone area just above the white strokes appears to lie on top of the white paint (fig. 14.59). The other flesh-colored paint stroke, further to the left, seems to have been picked up by the edge of the striped dress, suggesting that it was still wet when the dress was painted (fig. 14.60). All of these observations seem to indicate that both the final female figure and the painted-out figure were painted on top of the landscape after some changes to the shoreline had been made. Furthermore, since both figures show evidence of some wet-in-wet mixing with the landscape, they were probably painted within a short time span of one another, if not contemporaneously, suggesting that they may have coexisted in the composition at some point. It seems that the rowboat in the foreground also may not have been included in the composition from the beginning. The back part of the boat was painted on top of the first layers of the water, and the front half was added over a thin green wash that may correspond to the original lay-in of the riverbank (fig. 14.61). The grass where it overlaps the boat and the bright-blue patch of water to the right of the boat were added last in this area.
38

Figs. 14.51–14.53

Figs. 14.56–14.59

The fact that the paint used to cover the figure does not disturb the ridges of the underlying brushmarks, as well as the presence of several small areas of interlayer cleavage between the two painting campaigns (fig. 14.62), suggests that the figure was at least surface dry when the artist painted it out. The gray paint that covers the torso only overlaps the final female figure along the edge of her right arm but it seems that the paint from her dress was also dry at this point (fig. 14.63). The gray overpaint appears to have been painted up to the lower right flesh-toned area; the “flesh” area was then obscured by the thick, grayish-white stroke (fig. 14.64). Although it cannot be ruled out that the artist’s overpaint has been thinned or compromised in past cleanings, it does seem that Monet was not overly concerned with completely concealing all traces of the earlier figure and that its presence was always visible to some extent.
39

A few other more minor changes to the composition were observed. It appears that early in the painting, forms related to the sky, the tree foliage, and the river were laid in underneath the two tree trunks, suggesting that these compositional elements were blocked in on the left side before the tree trunks were added. However, the painting could not have been very far developed when the trunks were incorporated, as they remain relatively radio-transparent and the river and village were largely built up around them (fig. 14.65). In front of the houses near the right edge, a few other painted-out forms are visible in the transmitted IR and X-ray images. These may be related to additional windows and greenery that were later painted out (fig. 14.66); for example, a painted-out area of green can be seen, microscopically, to the left of the shrub that is in front of the white house at the far right, perhaps suggesting that more shrubbery was planned there (fig. 14.67). Further revisions appear to have been made to the sky in the upper right corner of the painting. Brushwork unrelated to the final composition is revealed with the aid of infrared and transmitted-infrared imaging (fig. 14.68). It is unclear what this earlier brushwork depicted but it seems like the warm, terracotta color of the underlayer of the hill continues underneath the sky. In the upper right corner, this warm-toned layer continues in a broad band all the way to the top of the canvas (fig. 14.69), and interestingly, in the final painting, the reflection of the sky in the river seems disrupted in this area, as though a form was being reflected there. The pale, brush-marked underpainting that initially covered most of the sky also seems to stop when it reaches this area in the upper right corner, suggesting that some form was blocked into the corner early on (fig. 14.70). The warm-toned paint of the pentimento is also visible in a small area further to the left, where there is a gap in the blue paint of the sky (fig. 14.71). This small peak also seems to have been incorporated into the reflection, suggesting that the sky was reworked after the reflection was painted. In fact, there seem to be several discrepancies between the village and its reflection; for example, more of the green hillside but not all of the buildings are included in the reflection. Furthermore, the hillside seems out of scale with the reflection of the large white building to the left. This could suggest that the reflection represents an earlier stage of the composition.
40

Several damages appear to have occurred early in the painting’s history. There is a large, L-shaped tear, which was repaired and filled early on using a lead white–rich paint or adhesive. This shows up as a radio-opaque area in the X-ray (fig. 14.72). Another damage, possibly a small puncture in the canvas, just to the right of the painted-out figure, was treated in a similar way. The repair creates a roughly circular form on the surface of the painting (fig. 14.73, fig. 14.74).^[53] It is unclear when or by whom the repairs were carried out, however, it cannot be ruled out, that Monet himself may have had a hand in them. In any case, the nature of the retouching in the larger tear area, which is more dense and solid than the rest of the foliage, raises the question of whether the foliage was originally painted this densely. The X-ray indicates that the buildings on the far shore were painted in some detail right up to the tree trunk (fig. 14.75). It seems questionable that Monet would have developed the buildings to this degree, only to obscure them with the dense foliage. In fact, this runs counter to the technique he used to depict glimpses of sky peeking through the foliage: rather than painting broad strokes of blue sky, then adding the foliage on top, localized touches of blue were applied over the initial lay-in of the foliage, with additional leaves built up over that (fig. 14.76). Other signs of damage include gouges in the soft paint, particularly in the lower center area (fig. 14.77, fig. 14.78).
41

Painting tools
Brushes, including 1–2 cm width, flat ferrule (based on width and shape of brushstrokes).42

Palette
Analysis indicates the presence of the following pigments: lead white, bone black, chrome yellow, yellow, red, and brown iron oxides including burnt sienna, vermilion, red lake, emerald green, viridian, cobalt blue, and ultramarine blue.^[54] Relatively large white clumps are visible microscopically throughout the paint surface, imparting a distinct bumpy surface (fig. 14.79). This may be associated with the lead white paint used by the artist. UV fluorescence suggests the use of red lake in the signature and date.^[55]
43

Binding media
Oil (estimated).^[56]44

Surface Finish

Varnish layer/media
The painting has a relatively matte, synthetic varnish, which was applied in 1973. In the 1973 treatment, a yellowed, natural-resin varnish was removed. The application of the natural-resin varnish is not documented but must postdate the 1959 varnish removal (see Conservation History).45

Conservation History

Undocumented restorations associated with damages in the canvas (an L-shaped tear in the upper left quadrant and a possible puncture at lower center (see Condition Summary) appear to be quite old. These areas were repaired using a lead white–containing material, probably applied from the front and the back of the canvas, to act as a consolidant for the tear and serve as a fill material for the retouching. The repairs were carried out before the aqueous lining that is documented as early as 1957^[57] and was removed in the 1973 treatment (see below).46

In 1959, discolored (extremely yellowish-gray) varnish was removed.^[58]47

In 1973, discolored surface films and overpaint were removed (fig. 14.80). The aqueous lining was removed, along with excess lead white paint on both sides of the tear. The painting was wax-resin lined and stretched on to a new ICA spring stretcher. A coating of polyvinyl acetate (PVA) AYAA was applied and inpainting was carried out. A coating of methacrylate resin L46 was applied, followed by a final coating of PVA AYAA.^[59]
48

Condition Summary

The painting is in good condition overall but suffers from old damages and restorations. The canvas is wax-resin lined and stretched on an ICA spring stretcher. The spring stretcher is slightly larger than the original stretcher, resulting in a border of unpainted ground from the tacking margins around the edges. There is an L-shaped tear in the canvas, in the upper-left quadrant, in the area of dense foliage above the figure’s head. It measures approximately 19 cm in the horizontal direction and 4 cm in the vertical direction. There is another damage in the foreground, just to the left of the back end of the rowboat, which appears to be a puncture in the canvas. Both areas of damage were somewhat crudely repaired with a lead white–containing material. The repairs appear to be quite old and were carried out at least before the aqueous lining, which was first documented in 1957. Other small damages in the paint were observed in the area of the painted-out figure and appear to have occurred when the artist’s “overpaint” was still soft. Retouching associated with these damages is slightly mismatched. There is extensive retouching around all of the edges associated with the border of exposed ground mentioned above. Other localized areas of retouching are scattered throughout the painting. There is a concentrated area of retouching in the upper right corner; its purpose may have been to conceal the warm-brown underlayer in that area, which may have become more noticeable over time. There are a few tiny, localized areas of interlayer cleavage between the artist’s “overpaint” and the painted-out figure. These areas are secure. There are some areas of crushed impasto, likely the result of pressure from the lining treatments. There are some fine age cracks visible throughout the painting and a fairly extensive network of fine drying cracks in the dark green and brown paint of the trees and the sitter’s head. The surface is coated with a synthetic varnish, which has a relatively matte finish.

Kimberley Muir49

Frame

Current frame (2008): The frame is not original to the painting. It is a French, mid-nineteenth-century, reverse-ogee frame with composition acanthus-leaf miters, a hollowed frieze, and a composition beaded sight molding. The frame is water gilded over red bole on gesso and composition ornament. The torus and hollow are burnished; the rest of the gilding was left matte and retains its original glue size. There is casein overpaint on the sides of the frame. The fruitwood molding is mitered with angled dovetailed splines. The molding, from perimeter to interior, is fillet; torus (three-quarter round) with a step; reverse ogee with composition acanthus-leaf ornament at the miter; fillet; hollow; fillet; frieze with beaded composition ornament; and cove sight (fig. 14.81).^[60]
50

Previous frame (removed 2008): The work was previously housed in an American (New York), mid-twentieth-century reproduction of an Italian Baroque frame with a bolection profile with spiral-leaf outer molding and a centered laurel-leaf sight molding. The frame has a white-gold distressed finish and an independent liner with a beveled sight (fig. 14.82).^[61]
51

Previous frame: Sometime between 1956 and 1962, the work was housed in a painted shadow box. The painting’s stretcher was mounted to the back panel of the frame with the edges of the canvas exposed. The frame was probably only utilized during this installation (fig. 14.83).^[62]
52

Kirk Vuillemot
53

Sold by [unknown] to Louis Aimé Léon Clapisson, Neuilly-sur-Seine, by June 21, 1889, for 500 francs.^[63]54

Sold by Louis Aimé Léon Clapisson, Neuilly-sur-Seine, to Durand-Ruel, Paris, Apr. 21, 1892, for 1,500 francs.^[64]55

Sold by Durand-Ruel, Paris, to Potter Palmer, Chicago, May 18, 1892, for 7,500 francs.^[65]56

By descent from Potter Palmer (died 1902), Chicago, to the Palmer family.^[66]57

Given by the Palmer family to the Art Institute of Chicago, 1922.
58

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.^[67]59

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.60

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.^[68]61

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture,” May 23–Nov. 1, 1933, cat. 291 (ill.).^[69]62

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 208.^[70]63

City Art Museum of St. Louis, Paintings by French Impressionists (1860–1880), Apr. 17–May 16, 1934, no cat.^[71]64

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.^[72]65

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, 1957.66

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.).67

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 17 (ill.). (fig. 14.84)
68

Art Institute of Chicago, Frédéric Bazille and Early Impressionism, Mar. 4–Apr. 30, 1978, cat. 71 (ill.).69

Paris, Galeries Nationales, Grand Palais, Hommage à Claude Monet (1840–1926), Feb. 8–May 5, 1980, cat. 18 (ill.).70

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 10 (ill.).71

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.).72

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, 1986.73

Edinburgh, National Gallery of Scotland, Lighting Up the Landscape: French Impressionism and Its Origins, Aug. 1–Oct. 19, 1986, cat. 86 (ill.).74

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, 1995.75

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 15 (ill.). (fig. 14.85)
76

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.).^[73]77

Kunsthalle Bremen, Monet und Camille: Frauenportraits im Impressionismus, Oct. 15, 2005–Feb. 26, 2006, cat. 10 (ill.).78

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 13 (ill.).79

Art Institute of Chicago, Becoming Edvard Munch: Influence, Anxiety, and Myth, Feb. 14–Apr. 26, 2009, cat. 126 (ill.).
80

Galerie Georges Petit, Claude Monet—A. Rodin, exh. cat. (Imp. de l’Art, 1889), p. 28, cat. 7.^[74]81

Copley Society, Boston, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by August Rodin, exh. cat. (Copley Society, 1905), p. 25, cat. 78.82

Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, exh. cat. (Art Institute of Chicago, 1910), cat. 40 or cat. 41.83

Art Institute of Chicago, Annual Report (Art Institute of Chicago, 1921), (ill.). 84

Art Institute of Chicago, “Library Notes,” Bulletin of the Art Institute of Chicago 15, 5 (Sept.–Oct. 1921), p. 160 (ill.).85

Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.86

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 68, cat. 831.^[75]87

Art Institute of Chicago, “The Potter Palmer Collection of Paintings,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 38.88

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), pp. 62 (ill.); 146, cat. 831.^[76]89

M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), pp. 18 (ill.), 19.90

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. 291.91

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. 18.92

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. 65.93

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.).94

Daniel Catton Rich, “The Exhibition of French Art: ‘Art Institute’ of Chicago,” Formes 33 (1933), (ill.).95

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. 208.96

Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28 (ill.).^[77]97

René Brimo, L’évolution du goût aux États-Unis, d’après l’histoire des collections (James Fortune, 1938), p. 159.98

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. 23.99

Sheldon Cheney, The Story of Modern Art (Viking, 1941), p. 181 (ill.).100

Ernst Scheyer, “Jean Frédéric Bazille–the Beginnings of Impressionism, 1862–1870,” Art Quarterly 5, 2 (Spring 1942), pp. 123, fig. 2; 125–26.101

Frederick A. Sweet, “Potter Palmer and the Painting Department,” Bulletin of the Art Institute of Chicago 37, 6 (Nov. 1943), p. 86 (ill.).102

John Rewald, The History of Impressionism (Museum of Modern Art, New York/Simon & Schuster, 1946), p. 188 (ill.).103

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 283.104

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. 50.105

Art Institute of Chicago, “Homage to Claude Monet,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 26 (ill.).106

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.107

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.108

William N. Eisendrath, Jr., “Water Lilies by Claude Monet,” Bulletin of the City Art Museum of St. Louis 42, 2 (1957), p. 16.109

Edith Weigle, “The Wonderful World of Art,” Chicago Daily Tribune, May 26, 1957, p. E2 (ill.).110

William C. Seitz, Claude Monet (Abrams, 1960), pp. 23, 78–79 (ill.).111

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 318.^[78]112

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.).113

Yvon Taillandier, Monet, trans. A. P. H. Hamilton (Crown [1963]), p. 26 (ill.).^[79]114

Rodolphe Walter, “Emile Zola et Claude Monet,” Les cahiers naturalistes 26 (1964), pp. 52–53.115

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (Sept. 1966), pp. 192, fig. 9; 194.116

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. 64.117

Daniel Wildenstein, Monet: Impressions (International Art Book [Lausanne], 1967), p. 26.118

Rodolphe Walter, “Critique d’art et vérité: Émile Zola en 1868,” Gazette des beaux-arts 73 (Apr. 1969), pp. 227; 228, fig. 2; 229; 230.119

Rodolphe Walter, “Emile Zola à Bennecourt en 1868: Les vacances d’un chroniqueur,” Les cahiers naturalistes 37 (1969), p. 30.120

Charles C. Cunningham and Satoshi Takahashi, Shikago Bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 54, cat. 40 (ill.); 160.121

William Gaunt, The Impressionists (Thames & Hudson, 1970), pp. 78–79, pl. 12; 288.^[80]122

John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 11, 81 (ill.), 284.^[81]123

Gerald Needham, “The Paintings of Claude Monet, 1859–1878” (Ph.D. diss., New York University, 1971), pp. 176–79; 197; 198; 201; fig. 51.124

Luigina Rossi Bortolatto, L’opera completa di Claude Monet: 1870–1889, Classici dell’arte 63 (Rizzoli, 1972), pp. 89, cat. 23 (ill.); 90.125

Pierre Courthion, Impressionism, trans. John Shepley (Abrams, 1972), p. 14 (ill.).126

Art Institute of Chicago, “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. 1973), p. 11.127

Kermit Swiler Champa, Studies in Early Impressionism (Yale University Press, 1973), pp. 25; 27; 28; 59; 63, fig. 30.128

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 65.129

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 24, 25–26.130

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 71, cat. 17 (ill.).131

Alice Bellony-Rewald, The Lost World of the Impressionists (Weidenfeld & Nicolson, 1976), pp. 90–91 (ill.).132

Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 20; 91, fig. 49.133

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.).134

Roger Terry Dunn, “The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889” (Ph.D. diss., Northwestern University, 1978), p. 246.135

Joel Isaacson, Claude Monet: Observation and Reflection (Phaidon/Dutton, 1978), pp. 8; 17; 18; 19; 72, pl. 24 (detail); 73, pl. 25; 197; 200; 211.136

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 54–55 (ill.).137

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 1 (Denoël, 1979), p. 247 (ill.).138

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 3, Peintures, 1887–1898 (Bibliothèque des Arts, 1979), pp. 21, n. 825; 249, letter 986.139

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.).140

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 194 (ill.), 437.^[82]141

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 114, pl. 6.142

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.); 67.143

Art Institute of Chicago, Pocketguide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. 24, fig. 26; 62.^[83]144

Robert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 73, 74, 75 (ill.), 76–77.145

John Russell, “Monet as a Vital Link to the Future,” New York Times, Dec. 4, 1983, p. H33 (ill.).146

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), 365.147

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; 158.148

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; 116.149

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.).150

Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), front cover (detail), pp. 2 (detail), 4.151

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.).152

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 46, pl. 14.153

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), p. 44, n. 412.154

Art Institute of Chicago, “Museum News,” Mosaic (Jan.–Feb. 1986), p. 11 (ill.).155

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. 86.156

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 10 (detail), 11, 13 (ill.), 118.157

Douglas Skeggs, River of Light: Monet’s Impressions of the Seine (Victor Gollancz, 1987), pp. 50 (ill.), 51–54, 68, 150.158

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.), 167.159

Michel Péricard, in collaboration with Laure Blanchet, Les peintres et les Yvelines (Sogemo, 1988), pp. 17 (ill.), 140 (detail), 141.160

Rodolphe Walter, “Aux sources de l’impressionnisme: Bennecourt,” L’oeil 393 (Apr. 1988), pp. 33–34, fig. 7; 35–36.161

Francesco Arcangeli, Monet (Nuova Alfa, 1989), pp. 42–43; 96, fig. 22; 154.162

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.), 204.163

Michael Howard, Monet (Brompton, 1989), pp. 33, 52–53 (ill.).164

Musée Rodin, Claude Monet-Auguste Rodin: Centenaire de l’exposition de 1889, exh. cat. (Musée Rodin, 1989), pp. 54, 74 (ill.).165

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. 15.166

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. 82.167

Margaret Carroll, “Chicago’s Debt: Art Institute Owes Much to 1890s Patrons,” Chicago Tribune, July 15, 1990, p. 4 (ill).168

Jean Paul Crespelle, Guide de la France impressionniste: Sites, musées, promenades, Les guides visuels (Hazan, 1990), cover (ill.); p. 51 (ill.).169

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. 6.170

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, 47.171

Michael Clarke, Corot and the Art of Landscape (British Museum Press, 1991), pp. 107, ill. 103; 110.172

Charles F. Stuckey, French Painting (Hugh Lauter Levin/Macmillan, 1991), p. 141 (ill.).173

Sophie Fourny-Dargère, Monet, Profils de l’art (Chêne, 1992), pp. 47, fig. 5 (detail), fig. 6; 156.174

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. 112.175

Russell Ash, The Impressionists’ River: Views of the Seine (Universe, 1992), pp. 8; 14–15 (ill.).176

Scott Reyburn, Monet (Medici Society, 1992), p. 8 (ill.).177

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; 339.178

Marianne Alphant, Claude Monet: Une vie dans le paysage (Hazan, 1993), pp. 192, 194, 355, 650.179

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.).180

Valérie Bajou, Frédéric Bazille, 1841–1870 (Edisud, 1993), pp. 60; 164, ill. 90; 171.181

Alexis Gregory, Families of Fortune: Life in the Gilded Age (Rizzoli, 1993), p. 157 (ill.).182

Christoph Heinrich, Claude Monet, 1840–1926 (Benedikt Taschen, 1993), pp. 22 (ill.), 29, 94.183

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; 31.184

Jean-Paul Crespelle, Monet, rev. ed. (Studio Editions, 1994), p. 13.185

Steven Z. Levine, Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self (University of Chicago Press, 1994), pp. fig. 62; 114; 116; 125.186

Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 297; 433, cat. 141/ill. 181.187

Nancy Nunhead, Claude Monet (Barnes & Noble/Brompton, 1994), pp. 36–37 (ill.).188

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. 141.189

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. 141.190

Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 297; 436, cat. 141/fig. 181.191

Alexandra Bonfante-Warren, Country Life, Celebrations in Art (MetroBooks, 1995), (ill.).192

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 13; 15 (detail); 16–17; 36; 65; 74, pl. 3; 106.193

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; 242.194

Genpei Akasegawa, Akasegawa Genpei no inshōha tanken 96 (Winter 1996), p. 30 (ill.).195

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.); 255.196

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. 17.197

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. 64.198

John Russell, “Renoir’s Paradise, and Those Who Loved It,” New York Times, Sept. 29, 1996, p. H39 (ill.).199

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), pp. 68 (ill.), 70.200

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), p. 56, cat. 110 (ill.).201

Art Institute of Chicago, Pocketguide, selected by James N. Wood (Art Institute of Chicago, 1997), p. 16, no. 24 (ill.).202

Carla Rachman, Monet (Phaidon, 1997), pp. 76–77, fig. 51; 78; 80; 81; 152.203

Meyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 56; 57, fig. 12a, fig. 12b (detail); 58; 70–71; 251–53.204

Genpei Akasegawa, The Impressionists, in Japanese (Kodansha, 1998), front cover (details); p. 1 (details), 3 (ill.), 4–5 (ill.).205

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. 51.206

Charlotte Gere and Marina Vaizey, Great Women Collectors (Philip Wilson/Abrams, 1999), pp. 132, 133.207

Henri Mitterand, Zola: Vol. 1 (1840–1871) (Fayard, 1999), p. 522.208

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.).209

Richard R. Brettell, Modern Art, 1851–1929: Capitalism and Representation (Oxford University Press, 1999), pp. 17; 181–82, fig. 116; 183.210

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.).211

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. 32.212

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; 113.213

Ivan Olson, The Arts and Critical Thinking in American Education (Bergin & Garvey, 2000), pp. 16; ill. 2.1.214

Belinda Thomson, Impressionism: Origins, Practice, Reception (Thames & Hudson, 2000), pp. 97, ill. 90; 98; 266.215

Charles Stuckey, “Monet e la Senna,” in Monet: I luoghi della pittura, ed. Marco Goldin, exh. cat. (Linea d’Ombra, 2001), p. 52 (ill.).216

Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 1 (Teaching Co., 2002), pp. 63, 74, 173.217

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 32; 33, no. 20 (ill.); 294.218

Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 22 (ill.).219

Marco Goldin, ed., Monet, la Senna, le ninfee: Il grande fiume e il nuovo secolo, exh. cat. (Linea d’Ombra, 2004), p. 310.220

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.), 28.221

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; 50.222

Birgit Zeidler, Claude Monet: Life and Work, trans. Paul Aston in association with Goodfellow & Egan (Könemann, 2005), p. 30 (ill.).^[84]223

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. 142.224

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. 112.225

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.).226

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. 8.227

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.^[85]228

Stéphane Lambert, L’adieu au paysage: Les Nymphéas de Claude Monet (Éd. de la Différence, 2008), pp. 21, fig. 5; 63; 119.229

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).230

James H. Rubin, Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (University of California Press, 2008), p. 136.^[86]231

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; 39–40.232

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. 126.233

Renée Grimaud, 50 ans d’expositions au Grand Palais, Galeries nationales (Réunion des Musées Nationaux, 2009), p. 104 (detail).234

Susie Hodge, Monet: His Life and Works in 500 Images (Lorenz, 2009), p. 110 (ill.).235

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; 89.236

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. 111.237

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. 210.238

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. 9.239

Ségolène Le Men, Monet (Citadelles & Mazenod, 2010), pp. 122; 124–25, ill. 100.240

Jane Mayo Roos, Auguste Rodin (Phaidon, 2010), p. 6, fig. 2.241

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. 146.242

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; 548.243

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; 54.244

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.
245

Documentation from the Durand-Ruel Archives

Inventory number

Stock Durand-Ruel Paris 2127, Argenteuil

Livre de stock Paris 1891^[87]246

Label (fig. 14.86)^[88]
247

Label (fig. 14.87)^[89]
248

Labels and Inscriptions

Undated

Label
Location: original stretcher (discarded); preserved in conservation file
Method: printed label with handwritten script
Content: DURAND-RUEL / PARIS, 16, Rue Laffitte / NEW-YORK, 315, Fifth avenue / Monet No2127 [?] / Argenteuil / tsss [?] (fig. 14.88)
249

Label
Location: original stretcher (discarded); preserved in conservation file
Method: printed label with handwritten script
Content: PA [. . .] tte / NEW [. . .] avenue / (M[. . .]) No; (2127 / [. . .] gsss) (fig. 14.89)^[90]
250

Catalogue card
Location: probably original stretcher (discarded); transcription in conservation file
Method: not documented, possibly a label or inscription
Content: Mrs. Potter Palmer by F.A. Bryon [sic] 3/4-[5 ?]^[91]251

Number
Location: backing board
Method: handwritten script
Content: 115, 5 (fig. 14.90)252

Pre-1980

Stamp
Location: canvas
Method: stamp
Content: DEFORGE[. . .]^[92] / COULEURS FINES / [. . .] TOILES à PEINDRE / [Boulevard] Montmartre, 8 / PARIS / Atelier Rue Legendre [. . .] Batignolles (fig. 14.91)253

Number
Location: stretcher^[93]
Method: handwritten script
Content: 1922.427 (fig. 14.92)
254

Label
Location: stretcher^[94]
Method: printed label with handwritten script and green-ink inventory stamp
Content: THE ART INSTITUTE OF CHICAGO / Chicago, Illinois 60603 / ARTIST Monet, Claude / TITLE The River 1922.427
Stamp: Inventory—1980 –1981 (fig. 14.93)
255

Post-1980

Label
Location: previous Masonite-type backing board (discarded); transcription in conservation file^[95]
Method: not documented
Content: Réunion des musées nationaux / cat. no. 78 / Hommage à Monet / Galeries nationales du Grand Palais / 8 fevrier–5 mai 1980 (fig. 14.94)256

Label
Location: backing board
Method: printed label with handwritten script and traces of ink stamp
Content: [logo] Réunion des musées nationaux Paris / Au bord de l’eau, Bennecourt / Titre de l’oeuvre: / Propriétaire: Art Institute of Chicago / No du Catalogue 141
Stamp: IMPRESSIONNISME LES ORIGINES, 1859–1869 / Galeries nationales du Grand Palais / 1[8?] avril–8 août 1994 (fig. 14.95)257

Label
Location: backing board
Method: printed label
Content: 141 / Claude Monet / Au bord de l’eau, Bennecourt (The River at Bennecourt) / Oil on canvas / The Art Institute of Chicago, Potter Palmer Collection / ORIGINS OF IMPRESSIONISM / The Metropolitan Museum of Art / September 27, 1994–January 8, 1995 (fig. 14.96)
258

Label
Location: backing board
Method: printed label
Content: The Art Institute of Chicago / “Claude Monet: 1840–1926” / July 14, 1995–November 26, 1995 / Catalog: 15 / On the Bank of the Seine, Bennecourt / Au Bord de l’eau, Bennecourt / The Art Institute of Chicago, Potter Palmer Collection / (1922.427) (fig. 14.97)
259

Label
Location: backing board
Method: typewritten script on printed label
Content: The Phillips Collection / America’s first museum of modern art / 1600 21st Street NW Washington, D.C. 20009-1090 / Impressionists on the Seine: A Celebration / of Renoir’s “Luncheon of the Boating Party” / September 21, 1996–February 9, 1997 / Artist Monet / Title On the Bank of the Seine, Bennecourt / Date 1868 / Medium oil on canvas / Dimensions 30 x 40 in. (81.5 x 100.7 cm) / Lender Art Institute of Chicago / Reg # 1996.53.1 Plate # 1 (fig. 14.98)
260

Label^[96]
Location: frame
Method: printed label
Content: Arnold Wiggins & Sons / Limited / 4 Bury Street / St James’s / London SW1 / Picture Frame Makers / Carvers and Gilders / [lower left] BY APPOINTMENT / TO H. M. QUEEN ELIZABETH II / PICTURE FRAME MAKERS / [lower right] BY APPOINTMENT / TO H. M. QUEEN ELIZABETH / THE QUEEN MOTHER / PICTURE FRAME MAKERS (fig. 14.99)
261

Examination and Analysis Techniques

X-radiography

Westinghouse X-ray unit, scanned on Epson Expressions 10000XL flatbed scanner. Scans digitally composited by Robert G. Erdmann, University of Arizona.262

Infrared Reflectography

Surface Optics modified near-infrared hyperspectral camera (collects 4 nm spectral band images from 960 to 1730 nm); Goodrich/Sensors Unlimited SU640SDV-1.7RT with J filter (1.5–1.7 µm); Inframetrics Infracam with 1.5–1.73 µm filter; and Fujifilm S5 Pro with X-Nite 1000B/2 mm filter (1.0–1.1 µm).263

Transmitted Infrared

Fujifilm S5 Pro with X-Nite 1000B/2 mm filter (1.0–1.1 µm).264

Visible Light

Natural-light, raking-light, and transmitted-light overalls and macrophotography: Fujifilm S5 Pro with X-NiteCC1 filter.265

Ultraviolet

Fujifilm S5 Pro with X-NiteCC1 filter and Kodak Wratten 2E filter.266

High-Resolution Visible Light (and Ultraviolet)

Sinar P3 camera with Sinarback eVolution 75 H (B+W 486 UV/IR cut MRC filter, X-NiteCC1 filter, and Kodak Wratten 2E filter).267

Microscopy and Photomicrographs

Sample and cross-sectional analysis using Zeiss Axioplan2 research microscope equipped with reflected light/UV fluorescence and a Zeiss AxioCam MRc5 digital camera. Types of illumination used: darkfield, differential interference contrast (DIC), and UV. In situ photomicrographs with a Wild Heerbrugg M7A StereoZoom microscope fitted with an Olympus DP71 microscope digital camera.268

X-ray Fluorescence Spectroscopy (XRF)

Several spots on the painting were analyzed in situ with a Bruker/Keymaster TRACeR III-V with rhodium tube.269

Polarized Light Microscopy (PLM)

Zeiss Universal research microscope.270

Scanning Electron Microscopy/Energy-Dispersive X-ray Spectroscopy (SEM/EDX)

Cross sections analyzed after carbon coating with a Hitachi S-3400N-II VP-SEM with an Oxford EDS and a Hitachi solid-state BSE detector. Analysis was performed at the Northwestern University Atomic and Nanoscale Characterization Experimental (NUANCE) Center, Electron Probe Instrumentation Center (EPIC) facility.271

Automated Thread Counting

Thread count and weave information were determined by Thread Count Automation Project software.^[97]272

Image Registration Software

Overlay images registered using a novel image-based algorithm developed by Damon M. Conover (GW), John K. Delaney (GW, NGA), and Murray H. Loew (GW) of the George Washington University’s School of Engineering and Applied Science and the National Gallery of Art, Washington, D.C.^[98]273

Image Inventory

The image inventory compiles records of all known images of the artwork on file in the Conservation Department, the Imaging Department, and the Department of Medieval to Modern European Painting and Sculpture at the Art Institute of Chicago (fig. 14.100).
274