Claude Monet (1840-1926)
Here you will find an account on wich paintings Monet has exhibited at the ‘impressionist’ Expositions in 1874, 1876, 1877, 1879 and 1882. Also you will find the pictures he admitted at the Paris Salon, who were partly accepted and partly rejected. As indicated earlier the indication of a painting is often uncertain. Often there are more than one options. In my choices I mainly have followed the Catalogue Raisonnée of Wildenstein (1996, R22) and Moffet (1986, R2) who himself often follows the earlier Wildenstein (1974). See at the bottom of the main page on Claude Monet for the used sources.
The first ‘impressionist’ exposition 1874:
- catalogue numbers 95 – 103
- nrs. 99, 100, 101 contain two works
- in total 12 works ;
- 5 oil paintings (95-98, 103) and 7 pastels (99-102)
- 2x an indication of place
- 1x an indication of time, season or weather
- 7x a study
- 0x a loan
The catalogue numbers:
- 1874-95, Coquelicots;
- 1874-96, Le Havre, Bateaux de pêche sortant du port;
Moffett also suggests CR 126, the painting that was rejected at the Salon of 1869
see Le Havre on Google-maps ;
- 1874-97, Boulevard des Capucines;
Moffett also suggests CR293, 80×60, NAMA Kansas City, see GAP
- 1874-98, Impression, soleil levant;
- 1874-99, Deux croquis (pastel)
1874-100, Deux croquis (pastel)
1874-101, Deux croquis (pastel)
1874-102, Un croquis (pastel)
croquis = study
Wildenstein and Moffett give no suggestions
the-athenaeum.org shows 15 pastels of Monet made before 1874
I took 7 of them as a very uncertain suggestion of what Monet showed in 1874
other options are:
- 1864-70 ca., The Seine estuary, 25×38, private, see
- 1865-70 ca., Cat sleeping on a bed, 11×21, private, see
- 1865-70 ca., Sainte-Adresse, view across the estuary, 22×28, private, see
- 1865-70 ca., Three cows in a pasture, 32×50, private, see
- 1866 ca., Open sea, 21×42, private, see
- 1868, after the rain, 18×30, private, see
- 1865-70 ca., Nightfall, 21×38, MBA Nantes, see
- 1861 ca., Yport and the falaise d’Aval, 19×40, private, see
- 1874-103, Déjeuner;
note: this painting was rejected at the Salon of 1870
The second impressionist exposition of 1876:
- catalogue numbers 148-165
- one work exhibited outside the catalogue (=hors catalogue = hc)
- in total 18+1hc+19 works exhibited, all oil paintings
- 9x indication of place (6x Argenteuil)
- 3x indication of time, season or weather
- 1x a study
- 9 loans (appartient à…), 8 of Faure and 1 of Chocquet
The catalogue numbers:
- 1876-148, Le petit bras, Argenteuil ; appartient à M. Faure;
CR290, Wildenstein gives a ?, Moffett doesn’t give a suggestion; compare also 1876-158
Monet painted this theme very often, see CR196-200; CR229-232; CR426-429
most of these paintings had other buyers around 1876, including Durand-Ruel, accept
CR230, 1872, Small boats at Argenteuil, 49×65, Orsay, see
CR232, 1872, The small branch of the Seine at Argenteuil, 51×66, private
CR426, 1876, Banks of the Seine, 55×76, private
see Argenteuil in Google maps
- 1876-149, La Seine à Argenteuil; appartient à M. Faure;
Wildenstein suggests CR373 with a ?, Moffett follows. This painting was also showed at Monet’s solo exhibition of 1883. Monet painted this theme many times. See also 1876-157.
- 1876-150, Le Chemin d’Epinay
Wildenstein suggests two options: CR388 and 389; Moffett chooses CR389
CR388 = The lane in Epinay, snow effect, 61×100, private (looking towards Argenteuil)
see Google maps
- 1876-151, La plage à Sainte-Adresse; appartient à M. Faure;
in the summer of 1867 Monet lived in Sainte-Adresse with his aunt in Rue des Phares, see Google maps. The name of the villa is Le Coteau, the entrance is at 16, Rue Charles-Dalencourt.
see also: 1877-110; 1879-155, 157,
- 1876-152, Le pont du Chemin de fer, Argenteuil; appartient à M. Faure;
CR279, Wildenstein gives a ?, Moffett a perhaps
Monet painted the railway bridge more often: CR 318-320;
see Google maps
- 1876-153, Japonnerie;
one of the few portraits Monet made; here Camille with a blonde wig
- 1876-154, La prairie; appartient à M. Faure;
- 1876-155, Le petit Gennevilliers; appartient à M. Faure
Nor Wildenstein nor Moffett give a suggestion for this painting. Monet has painted Le petit Gennevilliers, which lies opposite of Argenteuil on the right / east bank of the Seine, many times. My suggestion of CR368 also belonged to Faure around 1876; Wildenstein and Moffett give this painting as a second option for 1877-160. In this painting the Petit-Gennevilliers bank is on the left. Other options are CR225 (see 1877-165) and 226, 233, 336-338, 370-375. For the location see google maps
- 1876-156, Le pont d’Argenteuil ; appartient à M. Faure
W+M CR311. This picture is part of a little serie containing CR 311-316. Monet also showed this painting in 1886 at the exhibition of ‘les XX’ in Brussels. For the location see picture google maps
- 1876-157, La berge d’Argenteuil ; appartient à M. Faure
La berge = Eng.: riverbank.
Wildenstein suggests in his list of expositions (IV, p1016) CR373 for 1876-149 or 1876-157. In his commend on CR373 he only suggests 1876-149 without an ?; Moffett doesn’t give a suggestion. Monet has painted this theme very often: CR374 and 375 are variations of CR373. My suggestion CR225 is part of a little serie (CR221-225), mostly bought by Durand-Ruel; CR225 was at some day the property of Duez, but Wildenstein doesn’t give a date; so my suggestion is very uncertain. Another option is CR317.
- 1876-158, Effet d’automne; appartient à M. Choquet
Wildenstein suggests CR290 or CR291; Moffett CR291 with a ‘perhaps’. I’ve chosen CR290 for 1876-148, so now I render CR291.
- 1876-159, Les dahlias
Wildenstein doesn’t give a suggestion; Moffett gives CR383 with a perhaps, see. I follow. Maybe CR286 also is a suggestion see.
- 1876-160, Les bateaux d’Argenteuil ; appartient à M. Faure
Wildenstein and Moffett suggest CR368 or 369. I render here the CR369 and have used CR368 as suggestion for 1876-155.
- 1876-161, La promenade
W+M CR381. Monet paints Camille and Jean in this picture
- 1876-162, Paneau décoratif (=Eng. decorative panel)
Note: the title is very general. Still both Wildenstein and Moffett are sure about CR285 as indication for this painting. Monet painted it in the garden of his first house in Argenteuil with Jean in front on the left side. This painting is part of the Gustave Caillebotte inheritance
- 1876-163, Le printemps
Wildenstein suggests CR201 as given here; Moffett adds CR205 as other possibility but also reserves this painting as suggestion for 1876-165+hc.
- 1876-164, Les bains de la Grenouillère
Wildenstein suggests only CR136 with a ?; this painting has been destroyed during World War II. The CR135 I suggest has the greatest resemblance with this painting. Moffett also suggests CR134 as option, the famous painting from the Metropolitan, see . See for more on La Grenouillère .
- 1876-165, Bateaux de pêche (étude)
Nor Wildenstein nor Moffett give a suggestion. My suggestion CR165 is very uncertain
- 76-165+hc Springtime
Wildenstein mentions this painting CR205 as being part of the second impressionist exposition but being outside the catalogue (hc = hors catalogue). Moffett also gives this painting as option for 1876-163. There is discussion whether the woman painted is Camille.
The third impressionist exposition of 1877:
- catalogue numbers 90-119
- one work exhibited outside the catalogue (=hors catalogue = hc)
- in total 30+1hc=31 works exhibited, all oil paintings
- 20x indication of place (8x Gare Saint-Lazare; 3x Montgeron; 3x Tuilleries)
- 2x indication of time, season or weather
- 2x a study
- 20 loans (appartient à…), 11 probably of Hoschedé
The catalogue numbers:
- 1877-90, La prairie, appartient à M. H… (=Hoschedé?)
Nor Wildenstein nor Moffett give a suggestion. The theme of the title links to the next options: CR 274 (=1874-95), 275, 276, 341 (=1876-154), 341a, 376-380. The very uncertain option I give is CR377. This painting was also exhibited in Berlin in 1882 and 1883.
- 1877-91, La mare à Montgeron, appartient à M. H… (=Hoschedé)
Wildenstein and Moffett both give CR419, that belonged to Hoschedé. This is a study for CR420, which is now in the Hermitage, see; I wonder why Monet didn’t show this one. It shows the pond at the Hoschedé estate of Château de Rottembourg at Montgeron, see Google maps. In the 1877 exposition Monet shows 11 paintings belonging to Hoschedé (1877-90, 91, 92, 93, 97, 99, 100, 101, 108, 109, 112). Most of them are painted in and around Château de Rottembourg (1877-91, 93, 99, 101, 108, 109, 112).
- 1877-92, Paysage d’automne, appartient à M. H… (=Hoschedé)
Wildenstein and Moffett both suggests CR432, which belonged to Hoschedé. By lack of reproduction I give CR433 to compare; also painted in Montgeron. Compare 1877-108.
- 1877-93, Les Dahlias (Montgeron), appartient à M H… (=Hoschedé)
Wildenstein and Moffett both suggest CR417, which belonged to Hoschedé. (See also info 1877-91.) Strangely there are no dahlias on this picture but rose bushes. CR383 (also belonged to Hoschedé) or CR 286 are in that sense more appropriate; see also 1876-159; but these paintings were not made in Montgeron.
- 1877-94, Dans la prairie, appartient à M. Duret
Wildenstein and Moffett both suggest CR405. Compare 1877-90 and 1876-154.
- 1877-95, Les Tuileries, appartient à M. de Bellio
Wildenstein and Moffett both suggest CR401. Monet painted from the apartment of Victor Chocquet, 198, Rue de Rivoli, Paris, see Google-maps. See the same theme in 1877-105 and 119. This work was also exhibited in 1883 (solo exhibition) and in 1889 (Exposition Centennale) (R22,CR401).
- 1877-96, Paysage, le parc Monceaux, appartient à M. de Bellio
Wildenstein and Moffett both suggest CR398. (Monceaux in mostly spelled as Monceau, see parc Monceau on Google-maps. See the same theme in 1879-152;
- 1877-97, Arrivée du train de Normandie, gare St-Lazare, appartient à M. H… (=Hoschedé)
Wildenstein and Moffett both suggest CR 440. Wildenstein shows in his catalogue raisonnée a serie of 12 paintings with Le Gare Saint-Lazare as theme (CR438-449). From the last picture, CR449, an exterieur, there is only a picture known in a document, not the painting itself. At the third impressionist exposition Monet showed 7 paintings of this serie (1877-97, 98, 100, 102, 116, 117, 118); according to Moffett also one hc (=outside the catalogue), which makes 8. Wildenstein shows 8 exterieurs and 4 interieurs. The catalogue mentions 4 interieurs (102, 116, 117, 118). But Wildenstein and Moffett don’t only choose for 1877-102 an interieur, but also for 1877-97 and 100, this leaves one more interieur (CR441). Maybe CR444 Exterior of Saint-Lazare station, arrival of a train (see 1877-116) is een option for 1877-97. The 1877 catalogue mentions that 1877-116, 117 and 118 are alle interieurs of the Gare Saint-Lazare. Wildenstein solves this problem by suggesting three exterieurs (CR444, 447 and 448). Moffett suggests CR438 as possibility for 1877-102, 116, 117 and 118. For the hc Moffett suggests CR448 (see 1877-118); as another suggestion I give CR443. Three works belonged to Gustave Caillebotte at that time (CR438 (intérieur) and 447 and 448 (two extérieurs). Nr. 115 (Intérieur d’appartement) belonged to Caillebotte. Is it possible nrs. 116-118 also belonged to him, but there was no room in the catalogue? Is it possible there were writing errors between interieurs and exterieurs?
see Gare Saint-Lazare on Google-maps
- 1877-98, Le pont de Rome, gare St-Lazare, appartient à M. de Bellio
Wildenstein and Moffett both suggest CR442. (see info 1877-97)
- 1877-99, Portrait d’enfant, appartient à M. H… (=Hoschedé)
W+M CR434 (see info 1877-91)
- 1877-100, La gare St-Lazare, arrivée d’un train, appartient à M. H… (=Hoschedé)
W + M CR439. (see info 1877-97)
- 1877-101, Les dindons (décoration non terminée), appartient à M. H… (=Hoschedé)
W + M CR416. At the background of this painting you see Château Rottembourg. (see info 1897-91)
- 1877-102, Vue intérieure de la gare St.-Lazare
W + M CR438. (see info 1877-97)
- 1877-103, La maison du passeur à Argenteuil, appartient à M. Manet (=Edouard Manet)
This painting, CR329, has been destroyed ca. 1950. It shows a sailing boat, without sale, in the front; to the right bushes; and in the background the ferryman’s house (=la maison du passeur). To compare I chose for CR325 because there are several resemblances with the CR329 painting.
- 1877-104, Marine (Argenteuil), appartient à M. Manet (=Gustave Manet)
Wildenstein doesn’t give a suggestion; Moffett mentions with a perhaps CR327
- 1877-105, Les Tuileries ; esquisee
W + M CR403. (see info 1877-95)
- 1877-106, Corbeille des fleurs, appartient à M. Charpentier
Eng.: Basket of flowers.
Nor Wildenstein nor Moffett give a suggestion. Looking in the Catalogue Raisonné of Wildenstein the only still lives with flowers until 1877 are: CR20+139 (exhibited probably as 1879-142), but both are not in a basket. Looking at later paintings I think CR492a (a later painting dated 1878) can give a good impression of what Monet exhibited in 1877. This work was purchased by Moïse Dreyfus. A similar picture, CR292, was bought by Dr. Gachet.
- 1877-107, La plaine de Gennevilliers,
W + M CR437. Gennevilliers lies opposite to Argenteuil on the left bank of the Seine, see Google-maps
- 1877-108, Effet d’automne à Montgeron, appartient à M. H… (=Hoschedé)
Wildenstein suggests CR431, Moffett follows with a perhaps. Compare 1877-92; see info 1877-91
- 1877-109, Le Châlet, appartient à M. H… (=Hoschedé ?)
Wildenstein suggests CR422, but he doesn’t affirm the painting belonged to Hoschedé. Moffett doesn’t give a suggestion. A ‘Châlet’ is a (Swiss) wooden house. But this painting shows a stone house / villa.
The house at Yerres is still there at 37, Avenue de l’Abbeye, Yerres, see Google-maps. Yerres is 3km from Montgeron.
- 1877-110, Marine (St-Adresse), appartient à M. Duret
Wildenstein suggests CR94, which is acquired by Duret. Moffett follows with a perhaps. When we look at other Marines in the same period (CR71, 72, 86, 112, 113) Monet paints (mainly) only the sea; this is not so with CR94.
Note: the brightness of the colours and the vivid brushstrokes of this early work of the summer of 1867. There is much likeness with the older works CR758 (1882, walk on the cliff at Pourville) and CR805 (1882, the fisherman’s house at Varengeville). See main page about Monet. Other pictures made in Sainte-Adresse are: 1876-151 (see info), 1879-155, 157,
- 1877-111, Le grand quai au Hâvre (esquisse), appartient à M. Fromenthal
Wildenstein suggests CR295, Moffett follows.
esquisse = study
see Quai Joannes Couvert in Le Havre
- 1877-112, Un jardin, appartient à M. H… (=Hoschedé?)
Wildenstein suggests CR418 with an ?; Moffett doesn’t give a suggestion. Compare 1877-93; see also info 1877-91
- 1877-113, Un jardin
Nor Wildenstein, nor Moffett give a suggestion. My suggestion CR414 is a painting of a little serie of the garden of Monet’s second house in Argenteuil (CR407-415).
- 1877-114, portrait
Moffett suggests CR436, Wildenstein does the same but with a ? In Monet’s house in Giverny one can see a copy of this painting, see main page Monet. I suggest CR366; it is less a portrait, but it combines better with 1877-115. See also Renoir’s portrait of Monet on the same spot (see).
- 1877-115, Intérieur d’appartement, appartient à M. G.C. (= Gustave Caillebotte)
W + M CR365. Jean and Camille are seen in the background. This painting was also exhibited in 1887 at Georges Petit. Compare 1877-114
- 1877-116, Intérieur de la gare St-Lazare, à Paris,
1877-117, Intérieur de la gare St-Lazare, à Paris
1877-118, Intérieur de la gare St-Lazare, à Paris
Wildenstein suggest CR 444, 447 and 448. The problem these are all extérieurs in stead of intérieurs as the catalogue indicates. Moffett suggests 438 (an intérieur), which he also suggests for 1877-102. (see info 1877-97)
- 1877-119, Le Jardin des Tuilleries
W + M CR402. (see also 1877-95 and 105)
- 1877-119+hc, La gare Sainte-Lazare à l’exterieur
Moffett (R2,pp205) suggests a work shown hc (=outside the catalogue) and he suggests CR448 for it. Wildenstein doesn’t follow and reserves CR448 as option for 1877-116, 117 or 118. I suggest another exterieur CR443. (see info 1877-97)
The fourth impressionist exposition of 1879:
- catalogue numbers 138-166
- three works were exhibited outside the catalogue (=hors catalogue = hc)
- in total 29+3hc=32 works exhibited, all oil paintings
- 20x indication of place (9x Vétheuil and Lavacourt)
- 6x indication of time, season or weather
- 1x a study
- 21 loans (appartient à…), 6 of de Bellio and 3 of Duret
The catalogue numbers:
- 1879-138, Habitation bourgeoise, à Zaandam (Hollande), appartient à M. Baudry
Wildenstein and Moffett both suggest CR184. This painting is one of the paintings Monet made in Zaandam during his stay in 1871, see CR170-191a.
see the Hogendijk in Zaandam at Google-maps
- 1879-139, Paysage à Courbevoie, appartient à M. Duret
W+M CR457. To compare I give CR455 from the same serie CR454-461. See also 1879-153.
see Île de la Grande Jatte at Google-maps ; see Courbevoie at Google-maps
- 1879-140, Marine (1875), appartient à M. Duret
Wildenstein doesn’t give a suggestion. Moffett gives CR73, which is a picture from 1866; it wasn’t purchased by Duret. Wildenstein doesn’t give a Marine that was painted in 1875. In 1874 Monet painted two Marines in Amsterdam, CR298, 299, but they were not purchased by Duret. In 1882 Monet showed also two Marines (1882-60 and 74) and in 1877 also two (1877-104+110). The last one, a painting from 1867 also belonged to Duret.
- 1879-141, Vétheuil, vu de Lavacourt, appartient à M. Duret
W + M CR528. Strangely I can’t find a picture from this work at Musée d’Orsay. To compare I give CR529. Monet lived from 1878 – 1881 in Vétheuil in what now is 14, Avenue Claude Monet; the house is now a hotel and Bed & Breakfast, see. Lavacourt is at the opposite left bank of the Seine.
See also: 1879-144, 148, 151, 156, 166,
- 1879-142, Fleurs, appartient à M.R. (=Rouart)
Wildenstein and Moffett suggest with a ? / perhaps CR139. Compare a similar Renoir picture (now in MFM Boston), see.
- 1879-143, Pommiers, appartient à M.C. (=Gustave Caillebotte)
W+M CR490; painted at the foot of the Chantemesle hills. To compare I give CR491
- 1879-144, Effet de neige à Vétheuil, appartient à M.C. (=Gustave Caillebotte)
- W + M CR506. (see info 1879-141)
- 1879-145, La rue Montorgueil, fête du 30 juin, appartient à M. de Bellio
W+M CR469 (see also 1879-154)
see Rue Montorgeuil, Paris
- 1879-146, Effet de brouillard, impression, appartient à M. de Bellio
Wildenstein suggests the famous CR263, see also 1874-98; Moffett follows with a perhaps
- 1879-147, Estacade de Trouville, marée basse, appartient à M. Duez
W+M CR154. Trouville lies south of Le Havre, see Google-maps
- 1879-148, Paysage de Vétheuil
Nor Wildenstein nor Moffett give a suggestion. My very uncertain suggestion is CR526. (see info 1879-141)
- 1879-149, Lavacourt
Wildenstein doesn’t give a suggestion; Moffett gives CR475 with a perhaps. Wildenstein writes that this work was probably purchased by Charles Deudon. In that case it was most likely, that he was mentioned in the catalogue as the owner.
Lavacourt lies on the other (left) bank of the Seine, opposite too Vétheuil where Monet lived. see on Google-maps. Other paintings of Lavacourt: 1879-150, 161,
- 1879-150, La Seine à Lavacourt, (soleil couchant)
Wildenstein doesn’t give a suggestion; Moffett gives with a perhaps CR538, see. This picture doesn’t show a setting sun as the catalogue title indicates. To compare I give a little later work (CR574) with a sunset and a view on Lavacourt. See info 1879-149,
- 1879-151, Vétheuil
Nor Wildenstein nor Moffett give a suggestion. I give CR534 as a very uncertain option. Monet painted many pictures of Vétheuil. See info 1879-141
- 1879-152, Parc Monceaux, appartient à M. de Bellio
Wildenstein suggests CR468; Moffett gives CR466 as second option, (see info 1877-96)
- 1879-153, bords de la Seine, environs de Paris, appartient à M. Chabrier
W + M CR456. Compare and see info 1879-139
- 1879-154, La rue Saint-Denis, fête du 30 juin 1878
W+M CR470. See info 1879-145. Rue Saint-Denis seems to be an incorrect title (see CR469)
- 1879-155, Un jardin (1867), appartient à M. Lecadre
W+M CR68, which was painted in 1866. See info 1876-151. Lecadre is a cousin of Monet who lived in Saint-Adresse.
- 1879-156, Église de Vétheuil, appartient à M. Schlessinger
W+M CR474. (see info 1879-141)
- 1879-157, Jardin à Sainte-Adresse (1867), appartient à M. Frat
W+M CR95. (see info 1876-151; compare 1879-155)
- 1879-158, Les Charbonniers (1875), appartient à M. Hayem
W+M CR365. The Asnières road bridge is visible. Note: this is one of the only or few paintings of Monet with a social-realist theme
- 1879-159, Effet de neige (1875) à Argenteuil, appartient à M. Durand Ruel
Nor Wildenstein nor Moffett give a suggestion. My suggestion is CR348 wich is also purchased by Durand-Ruel and made in the winter of 1874/75. (For info on Argenteuil see 1876-148)
- 1879-160, La Mare, effet de neige, appartient à M. Durand Ruel
W+M CR350. To compare I give CR347, partly similar to CR350. Both are painted close to Monet’s house in Argenteuil (see also).
- 1879-161, Lavacourt, temps gris
Wildenstein doesn’t give a suggestion. Moffett gives CR476 as suggestion with a perhaps ; compare CR475 in 1879-149 wich is a quit similar picture. I give a totally different suggestion, namely CR513. see info 1879-149
- 1879-162, Chemin de halage à Lavacourt, appartient à M. Murer
W+M CR496. (see 1879-149 for info on Lavacourt)
- 1879-163, Étude de mer, appartient à M. Guillemet
Wildenstein doesn’t give a suggestion; Moffett suggests with a perhaps CR112. For other marines see 1877-104+ 110; 1879-140. For info on Sainte-Adresse see 1876-151
- 1879-164, Coucher du soleil, appartient à M. de Bellio
Wildenstein doesn’t give a suggestion; Moffett suggests CR362 with a perhaps, but he gives the same suggestion for 1879-165. I give another, very uncertain suggestion: CR429 of which Wildenstein doesn’t affirm it was purchased by De Bellio.
- 1879-165, Paysage d’hiver, appartient à M. de Bellio
Wildenstein gives CR362 with a ?, Moffett with a perhaps, but Moffett also suggests this one for 1879-164; he gives CR356 as a second option, depicting a train in the snow and purchased by De Bellio.
- 1879-166, Le petit bras à Vétheuil, appartient à M. de Bellio
Wildenstein doesn’t give a suggestion; Moffett with a perhaps CR481. To compare I give CR482 from the same serie (CR481-487). See info about Vétheuil 1879-141
- 1879-166+hc, Foreground with Dahlias
Wildenstein doesn’t mention a picture outside the catalogue; Moffett does and suggests CR383 (=1876-159), 385, 417 (=1877-93), 418 (=1877-112) or 453. I give the CR453.
- 1879-166+hc2+3 unknown title
Pickvance mentions that in a lettre dated 1879/05/01 Caillebotte promisses Monet, that the two canvases Monet sent, would be at the exposition. One is described as ‘temps gris’ (R2,p265). It probably were two paintings just finished in Vétheuil. Wildenstein doesn’t give a ‘temps gris’ painted in this period, so I render CR518 ‘Vétheuil in the Fog, 60×71, Marmottan. As second also very uncertain suggestion I give CR 533: ‘Vétheuil’, 60×81, NGV Melbourne.
The seventh impressionist exposition of 1882:
- catalogue numbers 57-91
- in total 35 works exhibited, all oil paintings
- 15x indication of place (6x Vétheuil; 5x (the cliffs of Grainval / Fécamps / Petit Dalles)
- 3x indication of time, season or weather
- 0x a study
- 4 loans (appartient à…)
The catalogue numbers:
- 1882-57, Fleurs de Topinambours, appartient à M. Cahuzac
both Wildenstein and Moffett (R2,p395) suggest CR629
- 1882-58, Les glaçons, appartient à M. Charpentier
W+M CR568. This painting is one of a small serie of paintings (CR559-572) of the break up of the ice on the Seine near Vétheuil after 5/1/1880 after the great freeze of December 1879 (see serie CR552-558). (see also 1882-85)
- 1882-59, Entrée du petit bras de la Seine à Vétheuil
W+M CR601. (see info about Vétheuil 1879-141)
- 1882-60, Marine
Nor Wildenstein nor Moffett give a suggestion. Marine (Eng.: sea view) is a very broad title and hard to identify. As a very uncertain suggestion I give CR771. See for other Marines 1877-104, 110; 1879-140; 1882-74
- 1882-61, Sur falaise à Grainval
Wildenstein give CR655 with a ? as suggestion, Moffett follows with a perhaps. In the painting Cape Fagnet is seen in the background, see Google-maps. In 1881 Monet painted a serie of paintings of cliffs and sea-views around Fécamp, Grainval and Les Petites-Dallas, all at the Normandy coast between Le Havre and Dieppe (see). Monet showed several of them in this seventh impressionist exposition, see 1882-(64), 66, 67, 73, 76, 77, 83, 87.
- 1882-62, Soleil couchant, sur la Seine, effet d’hiver
- 1882-63, Femme lisant dans un jardin
W+M CR681. To compare I give the very similar CR680, painted in Monet’s garden in Vétheuil.
- 1882-64, Bateau échoué
W+M CR645; note: plural in the title and on the painting two boats lying at low tide. I think CR644 is a better suggestion; the title is singular, as in the catalogue, and the painting shows one boat.
- 1882-65, Église de Vétheuil
Wildenstein suggests CR473 with a ?, Moffett follows with a perhaps. CR473 looks very much as CR474, see 1879-156. I give to compare CR672 painted in 1881. (see info about Vétheuil 1879-141)
- 1882-66, Marée basse, vue prise sur les falaises de Fécamps
Wildenstein suggests CR650 with a ?, Moffett is more sure. (see info 1882-61)
- 1882-67, La mer du haut des falaises
W+M CR648. (see info 1882-61)
- 1882-68, Vétheuil, effet de neige
Wildenstein suggests for 1882-68 or 72 CR508; Moffett follows. I give here CR507 as uncertain option. (see info about Vétheuil 1879-141)
- 1882-69, Chrysanthèmes , appartient à M. C. (=Gustave Caillebotte)
W+M CR635; To compare I give CR634, this work was painted in 1880, but signed 1882.
- 1882-70, Un coin du jardin à Vétheuil
Wildenstein suggests CR683 or 684; Moffett follows. Note: the garden of Monet in Vétheuil was at the other side of what now is Avenue Claude Monet, see info 1879-141. The garden is going downhill towards the Seine, which was to been from the back of the garden, see CR690
- 1882-71, Inondation
W+M CR642. To compare I give CR638, from the same little serie (CR638-642)
- 1882-72,Vétheuil, effet de neige
Wildenstein suggests for 1882-68 or 72 CR508; Moffett follows. This picture has much resemblance with CR509 and 510. They all show the entrance of Vétheuil from the road from La Roche-Guyon (compare 1882-75), with the block of houses to the left of wich the last house is Monet’s, see info 1879-141.
- 1882-73, Falaises des petites Dalles
Moffett gives two options: CR621 and 665; Wildenstein gives CR665 with a ?. (see info 1882-61)
- 1882-74, Marine
Wildenstein and Moffett don’t give a suggestion. Marine (Eng.: sea view) is a very broad title and hard to identify. As a very uncertain suggestion I give CR662. This painting is part of a little serie with CR661 and CR663. See for other Marines 1877-104, 110; 1879-140; 1882-60
- 1882-75, Château de la Roche-Guyon
Wildenstein suggests CR643; Moffett follows; now in a private collection in the USA; 60x80cm. To compare I give a different picture that shows the road from Vétheuil to Château de la Roche-Guyon. Château de la Roche-Guyon is on the road from Vétheuil to Bennecourt; see on google-maps
- 1882-76, Étude de mer vue des hauteurs
W+M CR649. To compare I give CR647 from the same viewpoint, also the same as CR648, see 1882-66+67. (see info 1882-61)
- 1882-77, A Grainval, près de Fécamp
W+M CR653. View on Cape Fagnet. (see info 1882-61)
- 1882-78, Bouquet de soleils
Wildenstein doesn’t give a suggestion; Moffett suggests CR598, but the emphasize in that picture lies on the Island of Flowers. So I give a very uncertain suggestion CR605, wich is part of a serie of views on Vétheuil (CR602-609). (See 1879-151 for info on Vétheuil).
- 1882-80, Glaïeuls
Wildenstein and Moffett give CR694 and 695 as the two options for these two numbers. Monet made some more pictures with gladioli, see CR414, 415, 472, 692
- 1882-82, Gibiers, nature morte
Wildenstein gives CR550 with a ?; Moffett suggests two options 549 and 550. CR550 is part of a little serie (CR549-551). None of these paintings only represent Pheasants.
- 1882-83, Le matin au bord de la mer
W+M CR651. (see info 1882-61)
- 1882-84, Sur la côte à Trouville
W+M CR687. Trouville lies south of Le Havre, see on Google maps
- 1882-85, Les glaçons
Wildenstein has no suggestion; Moffett suggests CR569. To compare I give CR567 (wich is a study for CR568 = 1882-58) (see info 1882-58)
- 1882-86, Les coquelicots.
Wildenstein suggests CR535 with a ?; in CR536 Monet gives a variation of the theme. Moffett suggests CR677 with a perhaps, I render this one.
- 1882-87, Du haut des falaises à Fécamp
Wildenstein suggests with a ? CR656, Moffett doesn’t follow. (see info 1882-61)
- 1882-88, Sentier dans les blés
Wildenstein gives CR676 with a ?; Moffett follows with a perhaps. Painted in the plains of Lavacourt
- 1882-89, Sentier dans l’Île St-Martin
W+M CR678. To compare I render CR 592. (Large Island between Vétheuil and Lavacourt, see Google-maps)
- 1882-90, Paysage d’été, Île St-Martin
Wildenstein suggests CR679 with a ?; Moffett follows with a perhaps. (see 1882-89)
- 1882-91, Les Saules, appartient à M. Cahuzac
Wildenstein and Moffett suggest CR611 or 612. I render the first. The picture shows a view at Lavacourt from Île de Moisson.
Monet at the Salon:
My main sources are the Salon database of Musée d’Orsay (=iR1) and the Catalogue Raisonné of Wildenstein (1996,=R22). For other references see at the bottom of the main page on Claude Monet . Note: an artist mostly submitted two works at the Salon
- S1865-1524: L’embouchure de la Seine à Honfleur
Now: 1865, Mouth of the Seine at Honfleur, 90×150, NSM Pasadena; CR51. Monet received positive critics (R2,p95)
- S1865-1525: La Pointe de la Hève à marée basse,
Now: 1865, The Pointe de La Hève at low tide, 90×150, KAM Fort Worth; CR52
- S1866-1386: Camille
Now: 1866, Camille (The woman with a green dress), 231×151, Kh Bremen; CR65; sold to Arsène Houssaye (R2, p95)
- S1866-1387 Forêt de Fontainebleau:
now: 1864, Le Pavé de Chailly, 98×130, private; CR19; also exhibited in 1886 in New York
now: 1866, Women in the garden, 256×208, Orsay; CR67. Monet exhibited the painting in the Spring of 1867 at Latouche
now: 1866, CR77, Port of Honfleur, 148×226, destroyed during World War II. The next year in 1868 Monet had succes with this painting at an exhibition in Le Havre. To compare I render: 1866-67, Boats in the Port of Honfleur, 49×65, private; CR77a (a much smaller picture)
- S1868-1787 Navires sortant des jetées au Havre
disappeared; 1867, CR89, Boats coming out of the Port of Le Havre. To compare I give: 1867, The entrance to the port of Honfleur, 50×61, NSM Pasadena; CR87. This pictures has various resemblances with the caricatures that are known of CR89
- S1868-R: La Jetée du Havre
now: 1868, The Jetty at Le Havre, 147×226, private; CR109
now: 1868-69, Fishing boats at the sea, 96×130, HSM Farmington; CR126; Bought by Fauré
now: 1869, The Magpie, 89×130, Orsay, CR133
- S1870-R1: Le Déjeuner
now: 1868-69, The luncheon, 230×150, SKSG Frankfurt; CR132; later exhibited as: 1874-103
1869, CR136, La Grenouillère; destroyed during World War II; bought by Durand-Ruel; also exhibited as 1876-164 Les bains de la Grenouillère. To compare I give: 1869, Bathers at La Grenouillère, 73×92, NG London; CR135. This painting resembles more, than the famous painting from the Metropolitan
- S1880-2681 Lavacourt
now: 1880, (The Seine at) Lavacourt, 100×150, Dallas MA; CR578
- S1880-R: Les glaçons
now: 1880, Floating Ice, 97×150, Shelburne Vermont; CR568; later exhibited as: 1882-58