Impressionism, locations

where the ‘impressionists’ did paint:

Sainte-Adresse

close to Le Havre

Sainte-Adresse introduction:
Though surrounded by Le Havre, Sainte-Adresse is still an independent commune (iR9;iR468;iR3). It lies more north(-west) of the harbour of Le Havre.
Namely Claude Monet painted here. The coast of Sainte-Adresse, part of the Normandy coast along the English Channel, is most often depicted.

Monet and Sainte-Adresse:
When Claude Monet (1840-1926) was five his family moved from Paris to Le Havre. His father, Adolphe Monet, entered the business of his brother-in-law Jacques Lecadre, a ship chandler and grocer. 1857/01/28 his mother died. 1858/09/30 his uncle died. His aunt, Sophie Lecadre, who had no children, would take care of her nephew Claude and supported him in his career as a painter. Sophie was the half-sister of Adolphe Monet. The Lecadre family had a weekend house in Sainte-Adresse. After Monet had left for Paris (1859/05) he would often return to this house.
Monet painted in Sainte-Adresse at least in 1864/06 (CR22), 1864/Autumn (CR39), 1865 (CR52), 1866 (CR68 +68a=96 +69), 1867/06 (CR91), 1868 (CR112-114).
1870/07/07 Sophie Lecadre died. 1871/01/17 his father Adolphe Monet died. (R464,p11+12;R22,no95)
After their death, Claude Monet again painted in Sainte-Adresse in 1873 (CR265 +266) and much later around 1880/81 (CR689), around the same time that Guillaumin painted a bit similar view.

Claude Monet: 4IE-1879-155, Un jardin (1867) = CR68, 1867 (or 1866), Jeanne-Marguerite Lecadre in the garden, 80x99, Hermitage (iR51;R22+R127,CR68;R90II,p135;R2,p269;R15,p165;M95,no.6505) Location: 'Le Coteau', Sainte-Adresse. Provenance: Lecadre; Meunier (1880s); Lebas; Durand-Ruel (1893); Shchukin (1899). — Claude Monet: 4IE-1879-155, Un jardin (1867) = CR68, 1867 (or 1866), Jeanne-Marguerite Lecadre in the garden, 80×99, Hermitage (iR51;R22+R127,CR68;R90II,p135;R2,p269;R15,p165;M95,no.6505) Location: ‘Le Coteau’, Sainte-Adresse. Provenance: Lecadre; Meunier (1880s); Lebas; Durand-Ruel (1893); Shchukin (1899).

Claude Monet: 4IE-1879-157, Jardin à Sainte-Adresse (1867), appartient à M. Frat =CR95, 1867, Garden at Sainte-Adresse, 98x130, Metropolitan (iR2;R22+R127,CR95;R2,p286;R90II,p135;R14,p159;M23,no.67.241) Provenance: Frat (before 1870?); Durand-Ruel (1913). Expo: DRNY-1914-1. — Claude Monet: 4IE-1879-157, Jardin à Sainte-Adresse (1867), appartient à M. Frat =CR95, 1867, Garden at Sainte-Adresse, 98×130, Metropolitan (iR2;R22+R127,CR95;R2,p286;R90II,p135;R14,p159;M23,no.67.241) Provenance: Frat (before 1870?); Durand-Ruel (1913). Expo: DRNY-1914-1.

The Lecadre estate:
His oncle and aunt Jacques and Sophie Lecadre had a weekend house in Sainte-Adresse, called Le Coteau, 16, rue Charles-Dalencourt, more in the town centre. Le Coteau had a large garden (R22,no68; iR9). The family also had another estate, maybe at 2, Sentier Alponse-Karr (iR9; R22,no95). This estate had a terrace with a view on the English channel. After Monet had left for Paris (1859/05) he would often return to these estates and would depict it in (the Spring or Summer of) 1866 (CR68 +68a=96 +69) and in (the Summer of) 1867 (CR95).
Monet depicted in CR68 Jeanne-Marguerite Lecadre (1842-1917) a distant cousin.

Claude Monet: 1867, CR93, Sainte-Adresse, 57x80, NGA Washington (iR3;M21) Info: Cap de la Hève in the background. Provenance: Faure (1874/09); Tavernier; GP1900/03/06-58. — Claude Monet: 1867, CR93, Sainte-Adresse, 57×80, NGA Washington (iR3;M21) Info: Cap de la Hève in the background. Provenance: Faure (1874/09); Tavernier; GP1900/03/06-58.

Claude Monet: 1873, CR266, La falaise de Sainte-Adresse, 54x71, private Japan (iR10;iR7;R22,no266;R22IV,p1016) =? London-8SFA-1874-142 — Claude Monet: 1873, CR266, La falaise de Sainte-Adresse, 54×71, private Japan (iR10;iR7;R22,no266;R22IV,p1016) =? London-8SFA-1874-142

Armand Guillaumin: 1881ca, CR96, Le porte de Sainte-Adresse, 60x73, Axx (iR13;iR10;R124,no96;R2,p395) former PP Geneva (R179,G16;M144) Compare: 7IE-1882-37, Avant-port (Dieppe). — Armand Guillaumin: 1881ca, CR96, Le porte de Sainte-Adresse, 60×73, Axx (iR13;iR10;R124,no96;R2,p395) former PP Geneva (R179,G16;M144) Compare: 7IE-1882-37, Avant-port (Dieppe).

Along the coast, viewing north:
There are several paintings made along the coast of Sainte-Adresse with a view to the north rendering the Pointe (Cap) de la Hève (iR9).
Monet did so in the following paintings: CR39 +39a +40 +52 +93 +113 +114 +265 +266 +689.
Guillaumin did so aournd 1881.

Claude Monet: 1867, CR91, Regatta at Sainte-Adresse, 76x102, Metropolitan (iR51;iR3;M23) Expo: =Bordeaux-1868-449. Provenance: ?Hecht (1873); HD1884/04/05-25; Durand-Ruel (1888ca); Wildener (1891); Durand-Ruel (1907); Osborn (1907). Letter 33. — Claude Monet: 1867, CR91, Regatta at Sainte-Adresse, 76×102, Metropolitan (iR51;iR3;M23) Expo: =Bordeaux-1868-449. Provenance: ?Hecht (1873); HD1884/04/05-25; Durand-Ruel (1888ca); Wildener (1891); Durand-Ruel (1907); Osborn (1907). Letter 33.

Claude Monet: 2IE-1876-151, La plage à Sainte-Adresse, à M. Faure =CR92, 1867, The beach at Sainte-Adresse, 75x101, AI Chicago (iR2;R2,p180;R90II,p57;R22+R127,CR92;M20,no.33.439) Other expos: GP1889-5. Provenance: Durand-Ruel (?1873/02/28); Faure (1876ca); Durand-Ruel (1893/01); Vever (1893; GP1897/02/01-79. — Claude Monet: 2IE-1876-151, La plage à Sainte-Adresse, à M. Faure =CR92, 1867, The beach at Sainte-Adresse, 75×101, AI Chicago (iR2;R2,p180;R90II,p57;R22+R127,CR92;M20,no.33.439) Other expos: GP1889-5. Provenance: Durand-Ruel (?1873/02/28); Faure (1876ca); Durand-Ruel (1893/01); Vever (1893; GP1897/02/01-79.

Claude Monet, 4IE-1879-163, Étude de Mer. Maybe: CR112, 1868, The Sea at Sainte-Adresse, 60x82, CMA Pittsburgh (iR2;R90II,p136;R2,p269;R22+R127,CR112;M35,no.53.22) — Claude Monet, 4IE-1879-163, Étude de Mer. Maybe: CR112, 1868, The Sea at Sainte-Adresse, 60×82, CMA Pittsburgh (iR2;R90II,p136;R2,p269;R22+R127,CR112;M35,no.53.22)

Along the coast, viewing south:
There are several paintings made along the coast of Sainte-Adresse with a view to the south towards Le Havre., sometimes in the distance the steeple of the Saint-Vincent church is visible (R22,no93a).
Monet did so in the following paintings CR22 +90 +91 +92 +93a +112
Bazille did so, see Daulte, 1952, no.15/1 (R22,no22).

Claude Monet: 3IE-1877-110, Marine (Ste-Adresse) à Duret =!? 1867, CR94, A hut at Sainte-Adresse, (the Cabin), 52x62, MAH Geneva (iR2;R22+R127,CR94;R2,p205;R90II,p95;M141,no.1990-45) Provenance: Duret (1873/05; GP1894/03/19-26; withdrawn); HD1905/12/16. Expos: =Le Havre-1868-852; =LVM-1880-15; =GP-1889-MR-6. — Claude Monet: 3IE-1877-110, Marine (Ste-Adresse) à Duret =!? 1867, CR94, A hut at Sainte-Adresse, (the Cabin), 52×62, MAH Geneva (iR2;R22+R127,CR94;R2,p205;R90II,p95;M141,no.1990-45) Provenance: Duret (1873/05; GP1894/03/19-26; withdrawn); HD1905/12/16. Expos: =Le Havre-1868-852; =LVM-1880-15; =GP-1889-MR-6.

View on the English Channel:
Some paintings namely give a view on the English Channel taken from Sainte-Adresse.
Monet did so in the following paintings: CR94 (+95).

Claude Monet: 1867, CR98, Street in Saint-Adresse, 80x60, CAI Williamstown (M26;iR10;R22,no98) Info: former church near Chemin des Phares. — Claude Monet: 1867, CR98, Street in Saint-Adresse, 80×60, CAI Williamstown (M26;iR10;R22,no98) Info: former church near Chemin des Phares.

The town-centre of Sainte-Adresse:
Some paintings depict the town-centre of Sainte-Adresse.
Monet rendered a view on Sainte-Adresse from one of the windows of ‘Le Coteau’ (CR22c=97), maybe painted in 1864.
Probably in the Summer of 1867 Monet depicted a road leading to the former church of Sainte-Adresse, near the Rue des Phares (CR98;iR9).

Background info:
Claude Monet depicted Sainte-Adresse in the following of his paintings: CR22 +39 +39a +40 +52 +68 +69 +90-98 +112-114 +265 +266 +689 (R22IV,p1059).

Sources:
My main sources are the Catalogue Raisonné of Wildenstein (1996=R22).
See links for other general references (=R), for references to internet sites (=iR), for references to musea (=M). For other additional references (=aR) see below. See links for practical hints and abbreviations and for the subscription of the paintings.