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拍品 105 |Property from the family of Claude Monet
Claude Monet (1840-1926)
Barques échouées sur la plage
已结束2017年11月26日
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Claude Monet (1840-1926)
Barques échouées sur la plage
stamped with signature 'Claude Monet' (Lugt 1819b; lower right of the support)
black chalk on paper adhered to a support sheet
7 ¾ x 11 ¾ in. (19.7 x 29.8 cm.)
Executed circa 1860-61
Barques échouées sur la plage
stamped with signature 'Claude Monet' (Lugt 1819b; lower right of the support)
black chalk on paper adhered to a support sheet
7 ¾ x 11 ¾ in. (19.7 x 29.8 cm.)
Executed circa 1860-61
Claude Monet (1840-1926)
Barques échouées sur la plage
stamped with signature 'Claude Monet' (Lugt 1819b; lower right of the support)
black chalk on paper adhered to a support sheet
7 ¾ x 11 ¾ in. (19.7 x 29.8 cm.)
Executed circa 1860-61
Barques échouées sur la plage
stamped with signature 'Claude Monet' (Lugt 1819b; lower right of the support)
black chalk on paper adhered to a support sheet
7 ¾ x 11 ¾ in. (19.7 x 29.8 cm.)
Executed circa 1860-61
Estate of the artist.
Michel Monet, Giverny (by descent from the above).
Rolande Verneiges, France (gift from the above).
By descent from the above to the present owner.
Michel Monet, Giverny (by descent from the above).
Rolande Verneiges, France (gift from the above).
By descent from the above to the present owner.
D. Wildenstein, Claude Monet, Catalogue raisonné, Lausanne, 1991, vol. V, p. 122, no. D 411 (illustrated).
The very accomplished drawing Barques échouées sur la plage demonstrates the ways in which the young Monet quickly surpassed the example of his masters, executing a drawing as finely detailed as any of oil painting. In this black chalk drawing, the influence of Johan Barthold Jongkind is particularly noticeable. Executed on white laid paper, this exquisite monochrome work is characterized by its subtle play of tones, sharpness of detail and fine technique, and stands as a testament to the artist’s mastery of the medium. Monet uses one of Jongkind’s favourite techniques to anchor the composition, introducing a plunging diagonal that begins from a cliff or architectural feature along one side of the composition, which cuts across the scene and ends in the sea (fig. 1). In an article which featured in the French newspaper Le Temps on the 26 November 1900, Monet discussed the importance of the Dutch artist’s influence on his work, describing his first meeting with Jongkind: “He made me show him my sketches, invited me to go and work with him and explained the ins and outs of his style, which complemented the teachings I had already received from Boudin.” (Monet, quoted in F. Thiébault-Sisson, ‘Claude Monet: Les années d’épreuves,’ in Le Temps, 26 November, 1900, n.p.).