Seascape

by descent to the Potter family

Possibly Paris, Durand-Ruel, Exposition A. Renoir, May 1892, cat. 100.

Possibly Durand-Ruel, Paris, Exposition A. Renoir, exh. cat. (Imp. de l’Art/E. Ménard, 1892), p. 47, no. 100.

“Cat. 8: Seascape, 1879,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.

John House, The Genius of Renoir: Paintings from the Clark, with an essay by James A. Ganz, exh. cat. (Sterling and Francine Clark Art Institute/Museo Nacional del Prado/Yale University Press, 2010), p. 74.

Richard R. Brettell and C. D. Dickerson III, From the Private Collections of Texas: European Art, Ancient to Modern (Kimbell Art Museum/Yale University Press, 2009), p. 302, fig. 2.

London, National Gallery, Renoir Landscapes, 1865–1883, Feb. 21–May 20, 2007, cat. 45 (ill.); Ottawa, National Gallery of Canada, June 8–Sept. 9, 2007; Philadelphia Museum of Art, Oct. 4, 2007–Jan. 6, 2008.

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 211, cat. 152 (ill.).

Colin B. Bailey, “‘The Greatest Luminosity, Colour and Harmony’: Renoir’s Landscapes, 1862–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 65. Translated as Colin B. Bailey, “‘Un maximum de luminosité; de coloration, et d’harmonie”: Les paysages de Renoir, 1862–1883,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 65.

Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 276. Translated as Robert McDonald Parker, “Chronologie,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 276.

Colin B. Bailey and Christopher Riopelle, eds., Renoir Landscapes, 1865–1883, exh. cat. (National Gallery, London, 2007), pp. 2–3 (detail); 4; 199–202, cat. 45 (ill.); 256. Translated by Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer as Les paysages de Renoir, 1865–1883, exh. cat. (National Gallery, London/5 Continents, 2007), pp. 2–3 (detail); 4; 199–202, cat. 45 (ill.); 256.

Charles Stuckey, “The Predications and Implications of Monet’s Series,” in The Repeating Image: Multiples in French Painting from David to Matisse, ed. Eik Kahng, exh. cat. (Walters Art Museum/Yale University Press, 2007), pp. 122–23, n. 22.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), pp. 33–34 (ill.).

Heather Lemonedes, Lynn Federle Orr, and David Steel, eds., Monet in Normandy, exh. cat. (Fine Arts Museums of San Francisco/North Carolina Museum of Art/Cleveland Museum of Art/Rizzoli, 2006), pp. 33; 34, fig. 21.

Isabelle Cahn, L’impressionnisme, ou l’oeil naturel, L’aventure de l’art (Chêne, 2005), pp. 52 (ill.), 219.

Michael Clarke and Richard Thomson, Monet: The Seine and the Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), p. 165, cat. 89 (ill.).

Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), pp. 248, pl. 117; 261.

Edinburgh, Royal Scottish Academy, Monet: The Seine and the Sea, 1878–1883, Aug. 6–Oct. 26, 2003, cat. 89 (ill.).

Joseph J. Rishel, “Pierre-Auguste Renoir,” in Juliet Wilson-Bareau and David Degener, Manet and the Sea, exh. cat. (Philadelphia Museum of Art, 2003), p. 243.

Frank Whitford, “A Lasting Impression,” Sunday Times (Scotland), Aug. 10, 2003, p. 17.

Art Institute of Chicago, Manet and the Sea, Oct. 20, 2003–Jan. 19, 2004, cat. 117 (ill.); Philadelphia Museum of Art, Feb. 15–May 30, 2004; Amsterdam, Van Gogh Museum, June 18–Sept. 26, 2004.

Richard Thomson, “Looking to Paint: Monet 1878–1883,” in Michael Clarke and Richard Thomson, Monet: The Seine and the Sea, 1878–1883, exh. cat. (National Galleries of Scotland, 2003), p. 33.

Florence Hope, “A Late Renoir Recently Added to the Institute’s Collection,” Bulletin of the Art Institute of Chicago 39, 7 (Dec. 1945), p. 98.

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

Duveen Galleries, New York, Renoir: Centennial Loan Exhibition, 1841–1941; For the Benefit of the Free French Relief Committee, exh. cat. (Vilmorin/Bradford, 1941), p. 132.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 74; 75; 451, no. 92.

Ulrich Thieme and Felix Becker, “Renoir,” in Allgemeines Lexikon der Bildenden Künstler, vol. 28, Ramsden–Rosa (Seemann, 1934), p. 170.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für Freunde und Sammler der Kunst 11, 3 (Mar. 1933), p. 78. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 120, no. 109 (ill.).

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 204, fig. 36.

Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L. Van Doren and Randolph T. Weaver (Knopf, 1925), p. 239.

M. C., “Renoirs in the Institute,” Bulletin of the Art Institute of Chicago 19, 3 (Mar. 1925), p. 32.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 150, cat. 845.

M. C., “Renoirs in the Institute (Continued),” Bulletin of the Art Institute of Chicago 19, 4 (Apr. 1925), p. 47 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 33 (detail); 46; 72; 89, pl. 8; 110.

Francesca Castellani, Pierre-Auguste Renoir: La vita e l’opera (Mondadori, 1996), pp. 73, 137 (ill.).

Shigenobu Kimura et al., Seikimatsu no yume / The Dream of Fin de Siècle, Meigo e no tabi / Journey into the Masterpieces 21 (Kodansha, 1992), pp. 70, pl. 3-24; 144.

Michael Howard, ed., The Impressionists by Themselves: A Selection of Their Paintings, Drawings, and Sketches with Extracts from Their Writings (Conran Octopus, 1991), pp. 256 (ill.), 320.

Lesley Stevenson, Renoir (Bison Group, 1991), pp. 100–01 (ill.).

Nicholas Wadley, ed., Renoir: A Retrospective (Hugh Lauter Levin/Macmillan, 1987), p. 195, pl. 65.

Sylvie Gache-Patin and Scott Schaefer, “La mer,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 308; 312–13, no. 120 (ill.).

Sylvie Gache-Patin and Scott Schaefer, “Impressionism and the Sea,” 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. 288; 290; 291, no. 120 (ill.).

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 120 (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.

Andrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 366.

Highland Park, Ill., Neison Harris, Mar. 7–May 21, 1975, no cat.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 27 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 80; 82–83, cat. 27 (ill.).

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 53, pl. 39; 160.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 396.