Eugene Boudin (1824-1898)
Property of the Art Gallery of Ontario, deaccessioned to benefit art purchases at the Art Gallery of Ontario
Eugene Boudin (1824-1898)

Beaulieu, La baie des tourmis, Effet du matin

Details
Eugene Boudin (1824-1898)
Beaulieu, La baie des tourmis, Effet du matin
signed, dated, and inscribed 'E. Boudin, .92. Beaulieu-Mars.' (lower right)
oil on canvas
21 5/8 x 35 ½ in. (55 x 90 cm.)
Painted in Beaulieu in March 1892
Provenance
Galerie Durand-Ruel et Cie., Paris (acquired from the artist, May 1892).
P.C. Eilers (acquired from the above, March 1927).
E.J. Van Wisselingh & Co., Amsterdam.
Jenkins Art Galleries, Toronto.
Frederick William Gerald Fitzgerald, Toronto (by 1937).
Bequest from the above to the present owner, October 1949.
Literature
R.L. Benjamin, Eugène Boudin, New York, 1937, p. 176 (illustrated, p. 158; titled Beaulieu-en-Baie).
R. Schmit, Eugène Boudin, Paris, 1973, vol. III, p. 117, no. 2884 (illustrated).
Exhibited
Paris, Société Nationale des Beaux-Arts, Salon du Champs de Mars, 1892.
London, Arthur Tooth & Sons, Ltd., Selected Pictures by Eugène Boudin, October-November 1934, no. 11.
Chicago, The Art Institute, Loan Exhibition of Paintings by Eugène Boudin, December 1935-January 1936, no. 6.
Montreal Museum of Fine Arts, Canada Collects, European Painting, 1860-1960, January-February 1960, p. 56, no. 144.
St. Catherines, Brock University, Rodman Hall Arts Centre; The Art Gallery of St. Thomas-Elgin; Thunder Bay Art Gallery and Sudbury, Laurentian University Museum and Art Centre, Impressionism and its Context, January-June 1991, pp. 16 and 38, no. 10 (illustrated, p. 17).

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David Kleiweg de Zwaan

Lot Essay

Born the son of a sailor in the coastal town of Honfleur, Boudin was always drawn to the sea. In his early career, he was attracted to the dramatic coastlines of Normandy, not only for the exceptional quality of the light and brilliancy of the sea and sky, but also to observe the wealthy bourgeoisie who escaped Paris to the Channel beaches for the summer months. By the 1890s Boudin’s health was deteriorating and he chose to spend winters on the Mediterranean coast, removed from the bustling Northern wharfs.
On the heels of his success at the 1889 World Exhibition, where he was awarded the gold medal, Boudin submitted eight works to the 1892 Salon of the Société Nationale des Beaux-Arts in which he depicted scenes of the Mediterranean coast. Beaulieu, La baie des tourmis, Effet du matin was one of three paintings of Beaulieu, a small town on the French Riviera, he submitted for the exhibition. Although he commented that he was "sufficiently rewarded by the approval of the public," later that year he received the Legion of Honor at the request of Leon Bourgeouis, the Minister of Public Education (J. Selz, E. Boudin, Paris, 1982, p. 84).
In a review of the 1892 Salon for La vie artistique, Gustave Geffroy commented that the works were generally "executed in the subtle style of patches of color bathed in gray light that is characteristic of the artist" (ibid., p. 84). While there is a subtle gray undertone present in Beaulieu, La baie des tourmis, Effet du matin, Boudin clearly found fresh delight while capturing this small bay and rendered the scene with the same delicacy and spontaneity associated with the masters of plein air painting. Hailed as a forefather of the Impressionists, Boudin’s technique was a source of inspiration for artists who succeeded him, particularly the precedent he set for capturing the subtle changes in atmosphere while outdoors. Most famously Claude Monet commented that his mentor’s work was influential enough to "decide the entire future and development of [his] painting" (quoted in P.C. Sutton, Boudin, Impressionist Marine Paintings, exh. cat., Peabody Museum of Salem, 1991, p. 16).
The focus of this scene is the serene landscape, and though human activity is interspersed, the overwhelming effect is that of tranquility in a quiet haven far removed from the lively seaports of the North.

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