À propos de l’œuvre
Camille sur la plage de Trouville, par Claude Monet
Claude Monet · Camille facing the wind in 1870 · Yale University Art Gallery
Camille on Trouville beach W160hand painted reproduction
Camille sits in a folding armchair, facing the viewer, a pink parasol placed behind her shoulder. Her cream dress fills the foreground while a wave, a child and a walker liven up the beach. Monet combines the intimacy of a portrait with the instability of wind and sea light.
Look at the work
Camille occupies the beach without interrupting the movement of the sea
The armchair and dress are cut by the lower and left edges. Camille crosses her arms and tilts her face slightly under a dark headdress. The pale umbrella forms a large curve behind her which responds to that of the wave.
On the right, a child plays near the water under the gaze of a woman wearing green hair. Piles, bathers and a sailboat punctuate the horizon. These tiny details maintain depth around the close-up portrait.
Camille is calm, but everything around her - fabric, foam, parasol and figures - seems to be crossed by the sea air.
Composition, touch and light
What Monet builds behind the impression of snapshot
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
An off-center portrait
The figure is placed on the left, leaving the sea and walkers an active space on the right.
Curves that connect figure and landscape
Umbrella, backrest, wave and loose skirt respond to each other and avoid a rigid separation between model and beach.
A dress painted in temperatures
Cream, gray, pink and pale green shape the fabric without academic contours or uniform white.
Reference image
Read this specific version
The unique reference is provided by the IIIF service of Yale University Art Gallery. The 1920 × 1571 px presentation file retained its native resolution, without enlargement, before its conversion to WebP.
The face remains sketched
A few browns, pinks and grays are enough to give the orientation of the gaze; excessive precision would cause the immediacy to be lost.
The green of the sea crosses the dress
The same cool tones appear in the water, the shadows of the garment and the walker's parasol.
Short touch for foam
The fragmented whites of the wave create movement and detach the silhouette without tracing its outline.
Documented benchmarks
Three pieces of information specific to this work
This oil on canvas measuring 38.1 × 46.4 cm, painted in 1870, is kept in Yale under the 1998.46.1 inventory and classified Wildenstein 160.
Camille Doncieux, wife of Monet
Married in June 1870, Camille and Monet then stayed in Trouville with their son Jean. It became the center of several beach studies.
Purchased in Monet around 1874 -1875
The Yale instructions indicate a purchase by Martin, then a visit to Sam Salz before John Hay Whitney's collection.
Presented in Yale's European galleries
The work belongs to the collection of Mr. and Mrs. John Hay Whitney and is numbered 1998.46.1.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- Preserve the cut framing of the armchair and the dress.
- Keep pale pink parasol behind shoulder.
- Keep the wave and small figures to the right.
- Keep your face freely outlined.
Work sheet
| Title | Camille on Trouville beach W160 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1870 |
| Original technique | Oil on canvas |
| Dimensions | 38.1 × 46.4 cm |
| Orientation | Horizontal |
| Conservation | Yale University Art Gallery, New Haven, United States |
| Inventory | 1998.46.1 · Wildenstein 160 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
This clear and intimate portrait is suitable for a bedroom, living room or reading space. A cream, blond wood or gray pink frame extends the softness of the dress and parasol.
