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Eugène Boudin | Beaulieu: The Bay of Fourmis | The Metropolitan Museum of Art
Painted in the small town of Beaulieu on the French Riviera in March 1892, this canvas was shown soon after, with two other seaside views, at the Salon of the Société Nationale des Beaux-Arts. Relatively unaffected by developments in painting in his time, Boudin used a conventional compositional arrangement.
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Inscription: Signed, dated, and inscribed (lower left): [E].Boudin 92. / Beaulieu - Mars
[Durand-Ruel, Paris, 1892; bought from the artist, May 10, stock no. 2152; sold November 8 to Durand-Ruel]; [Durand-Ruel, New York, 1892–94; stock no. 998; sold on May 12, 1894 to Spencer]; Spencer, New York (from 1894); [Durand-Ruel, New York; sold to Canfield]; Richard A. Canfield, New York (until d. 1914; posthumous sale, American Art Association, New York, January 27–28, 1916, no. 151, as "Baie de Fourmier [sic]," for $5,000, to Otto Bernet for Ruppert); Jacob Ruppert, New York (1916–d. 1939)
Paris. Salon. 1892, no. 141 (as "Beaulieu; — La Baie des Fourmis").
Honolulu Academy of Arts. "Four Centuries of European Painting," December 8, 1949–January 29, 1950, no. 25 (as "Baie de Fourmis, Beaulieu").
Art Gallery of Toronto. "Fifty Paintings by Old Masters," April 21–May 21, 1950, not in catalogue.
Clearwater. Florida Artist Group, Inc. December 1, 1950–March 31, 1951, no catalogue?
Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 44).
Iowa City. University of Iowa Gallery of Art. "Impressionism and Its Roots," November 8–December 6, 1964, no. 21 (as "Fournis [sic] Bay, Beaulieu").
New York. The Metropolitan Museum of Art. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue.
Santa Barbara Museum of Art. "Louis Eugène Boudin: Precursor of Impressionism," October 8–November 21, 1976, no. 30.
Corpus Christi. Art Museum of South Texas. "Louis Eugène Boudin: Precursor of Impressionism," December 2, 1976–January 9, 1977, no. 30.
St. Petersburg, Fla. Museum of Fine Arts. "Louis Eugène Boudin: Precursor of Impressionism," January 18–February 27, 1977, no. 30.
Columbus, Ohio. Columbus Gallery of Fine Arts. "Louis Eugène Boudin: Precursor of Impressionism," March 10–April 24, 1977, no. 30.
Fine Arts Gallery of San Diego. "Louis Eugène Boudin: Precursor of Impressionism," May 5–June 12, 1977, no. 30.
Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 34.
Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat.
Madrid. Museo Nacional Thyssen-Bornemisza. "Monet / Boudin," June 26–September 30, 2018, no. 100.
"$120,215 is Paid for 177 Paintings." New York Times (January 29, 1916), p. 9, notes that Ruppert paid $5,000 for this painting at the Canfield sale.
G. Jean-Aubry. Eugène Boudin d'après des documents inédits: L'homme et l'oeuvre. Paris, 1922, p. 174.
Hermann Warner Williams Jr. "The Bequest of Jacob Ruppert." Metropolitan Museum of Art Bulletin 34 (July 1939), p. 169.
Preface by Edward Alden Jewell inFrench Impressionists and Their Contemporaries Represented in American Collections. New York, 1944, p. 100, ill. (color).
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 11.
Frank Seiberling. Impressionism and Its Roots. Exh. cat., University of Iowa Gallery of Art. Iowa City, [1964], pp. 6, 12–13, no. 21, ill., calls it "Fournis Bay, Beaulieu".
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 136–37, ill.
Robert Schmit. Eugène Boudin, 1824–1898. Paris, 1973, vol. 3, p. 118, no. 2885, ill.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 433, ill.
Dietrich von Bothmer. "La Villa Grecque Kérylos, domaine d'un collectionneur." Académie des inscriptions & belles-lettres: Comptes rendus des séances de l'année 1998 (April–June 1998), p. 528, fig. 1, notes that this painting depicts the site where the Greek villa, Kérylos, would be built ten years later for the collector Théodore Reinach.
Kathryn Calley Galitz inThe Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 55, 182, no. 34, ill. (color and black and white).
Juan Angel López-Manzanares inMonet / Boudin. Exh. cat., Museo Nacional Thyssen-Bornemisza. Madrid, 2018, pp. 95, 267, no. 100, colorpl. 100, states that it was exhibited in Paris 1892 alongside other views of Beaulieu and four views of Villefranche; notes that Boudin painted the picture facing northeast from the Promenade Maurice Rouvier on the Cap Ferrat promontory and that it was produced in open air, with lively brushstrokes often applied wet-into-wet.
The French town of Beaulieu is in Provence on the Riviera, between the cities of Nice and Monte Carlo.
Boudin exhibited a total of eight paintings at the Salon of 1892, including two other views of Beaulieu. These were listed in the catalogue as no. 140, Beaulieu; — La Baie; — effet du matin (Schmit 1973, no. 2884, as Art Gallery of Toronto), and no. 142, Beaulieu; — Baie de Saint-Jean (Schmit 1973, no. 2886, as private collection).
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