Antibes Seen from La Salis

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Antibes Seen from La Salis

Artist Claude Monet French, 1840-1926

Date1888

DimensionsCanvas: 28 7/8 × 36 1/4 in. (73.3 × 92.1 cm)
Frame: 35 3/4 × 43 1/4 × 2 3/4 in. (90.8 × 109.9 × 7 cm)

MediumOil on canvas

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1929.51

Not on View

Collections

Paintings

Published ReferencesLecompte, G., L'art impressioniste d'apres la collection privee de M. Durand-Ruel, Paris, 1892, p. 89, repr. (etching).

Maus, M.O., Trente annees de lutte pour l'art, Brussels, 1926, p. 323.

Art Digest, vol. III, July 1929, repr. p. 32.

American Magazine of Art, vol. XX, Aug. 1929, repr. p. 473.

Beaux-Arts, vol. VII, Aug. 1929, repr. p. 8.

Parnassus, vol. I, Oct. 1929, repr. p. 20.

"Bulletin de l'art", (supplement to) Revue de l'Art, no. 762, LVI, Nov. 1929, repr. p. 418.

Toledo Museum of Art News, no. 56, April 1930, [p. 6].

Godwin, Blake-More, Catalogue of European Paintings, Toledo, 1939, p. 222, repr. p. 223.

Art News, vol. XVII, July 13, 1939, repr. p. 3.

Cheney, Sheldon, The Story of Modern Art, New York, 1941, p. 175.

Reutersward, O., Monet, Stockholm, 1948, p. 285.

A Guide to the Toledo Museum of Art, Toledo, 1966, repr.

Sutton, Denys, "Nineteenth Century Painting: Trends and Cross-Currents," Apollo, vol. 86, no. 70, Dec. 1967, p. 492, repr. fig. 30, p. 494.

Lee, Katharine C., "French Impressionism and Post-Impressionism," Toledo Museum of Art Museum News, vol. 12, no. 3, Autumn 1969, repr. p. 67, detailed repr. (col.) on cover.

Rewald, J., The History of Impressionism, 4th ed., New York, 1973, repr. p. 551 (also repr. in error, p. 492).

Levine, Steven Z., "Monet's Paris," Arts Magazine, vol. 49, no. 10, June 1975, pp. 74, 75, repr. p. 74.

The Toledo Museum of Art: a Guide to the Collections, Toledo, 1976, repr. (col.) p. 86.

Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, pp. 113-114, pl. 257.

Isaacson, Joel, Observations and Reflections: Claude Monet, Oxford, 1978, p. 218.

Wildenstein, Daniel, Claude Monet, biographie et catalogue raisonne, vol. 3, Lausanne, 1979, no. 1168, repr. p. 103.

Hommage a Claude Monet (1840-1926), Paris, Grand Palais, 1980, p. 275.

Sieberling, Grace, Monet's Series, New York, 1981, pp. 71, 404, repr. no. 7. (originally presented as author's thesis, Ph.D. - Yale University, 1976)

House, John, Monet: Nature into Art, New Haven, 1986, pp. 185, 186, 196, pl. 229 (col.).

Tucker, Paul Hayes, Monet in the 90's, Boston, 1989, pp. 18, 30, pl. 4 (col.).

Kendall, Richard, ed., Monet by Himself, London, 1989, repr. p. 162 (col.).

Hallowell, Bay, Art Ventures: a Guide for Families to Impressionism and Post-Impressionism, Pittsburgh, 1989, p. [7], repr. (col.).

Barnes, Rachel, ed., Monet by Monet, Exeter (Eng.), 1990, repr. p. 10 (col.).

Kuster, Bernd, Monet: Seine Reisen in den Suden, Hamburg, 1992, pl. 14 (col.).

Spate, Virginia, Claude Monet: Life and Work, New York, 1992, pp. 191, 194, ill. 216, p. 196 (col.).

Lallemand, Henri, Monet: Impressions of Light, New York, Smithmark Pub., 1994, repr. (col.) p. 110.

Boardingham, Robert, Impressionist Masterpieces in American Museums, New York, 1996, p. 98, repr. (col.).

Wildenstein, Daniel, Monet, or the Triumph of Impressionism, Cologne, 1996, vol. III, no. 1168, p. 444, repr. p. 441 (col.).

Tucker, Paul, Monet in the 20th Century, New Haven, 1998, p. 5, fig. 4 (col).

Tucker, Paul, "Monet, Giverny, and the Significance of Place," In Monet's Light: Theodore Robinson at Giverny, Baltimore, Baltimore Museum of Art, 2004, pp. 32-34, fig. 10 (col.) p. 34.

Claude Monét (1840-1926); a Tribute to Daniel Wildenstein and Katia Granoff, New York, Wildenstein, 2007, p. 126.

Comite Regional duTourisme, Riviera Cote d'Azur, Cote d'Azur des peintres: sur les pas des grands maîtres, Nice, Comite Regional du Tourisme, 2006, p. 7, repr. (col.).

The Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 272, repr. (col.).

Husslein-Arco, Agnes, Looking at Monet: the great Impressionist and his influence on Austrian art, Vienna, Belvedere, 2014, fig. 78, p. 70, repr. (col.).

Daneo, Angelica, Christoph Heinrich et al., Monet: Places, Denver Art Museum, 2019, p. 64, repr. (col.) fig 4, p. 44, fig. 9, p. 64.

Exhibition HistoryParis, Georges Petit, Monet and Rodin exhibition, 1889, no. 102.

Paris, Exposition universelle, 1900, no. 489.

London, Grafton Galleries, A Selection from the Pictures of Paul Durand-Ruel, 1905, no. 125, repr. p. 22.

Toledo Museum of Art, French Paintings, 1929, no. 34.

Oberlin, Allen Memorial Art Gallery, 1937.

Montreal, Montreal Museum of Fine Arts, Masterpieces of Painting, 1942.

Akron, Akron Art Institute, Masterpiece Series, 1952.

New York, Museum of Modern Art, Claude Monet: Seasons and Moments, 1960, no. 41, repr. p. 19 (cat. by W.C. Seitz).

Los Angeles County Museum, Los Angeles, California. 1960.

Art Institute of Chicago, Paintings by Monet, 1975, p. 32, no. 80, repr.

Madrid, Museo Espanol de Arte Contemporaneo, Claude Monet [1840-1926], 1986, no. 61, pp. 314, 482, repr. (col.).

Toledo Museum of Art; Pittsburgh, Carnegie Museum of Art; Minneapolis Institute of Arts; Kansas City, Nelson-Atkins Museum of Art; Saint Louis Art Museum, Impressionism: Selections from Five American Museums, 1989-1990, no. 53, p. 128, repr. (col.).

Chicago, Art Institute, Claude Monet 1840-1926, 1995, cat. no. 87, pp. 216, 218, 231, 233, 237, 254, repr. p. 108 (col.).

Fort Worth, Kimbell Art Museum; Brooklyn Museum, Monet and the Mediterranean, 1997, p. 126, pl. 55 (col.) p. 128.

Paris, France, Grand Palais, Claude Monet 1840-1926, Sept. 2010- Jan. 2011, no. 75, p. 197, repr. (col.) p. 204.

Label TextThe shimmering light of mid-afternoon infuses Claude Monet’s painting of the old fortified coastal town of Antibes in the south of France. Monet traveled there in January of 1888 and was dazzled by the light and the striking scenery of the legendary Côte d’Azur (Azure Coast). However, he sometimes struggled with how to represent it on canvas, writing to his friend the sculptor Auguste Rodin, “I’m fencing and wrestling with the sun. And what a sun it is! In order to paint here one would need gold and precious stones.” Monet chose to paint this view from the vantage point of the Garden of La Salis looking across the water to Antibes. He positioned himself at the bottom of the garden, close to the water. A large, twisting olive tree dominates the composition, and Antibes sparkles in the distance. His efforts to express the light and color of the Mediterranean fulfilled a promise to his companion, Alice Hoschedé, that what he would paint in Antibes would be “sweetness itself, white, pink, blue, all of it enveloped in this fairy-tale-like air.”