Les Enfants de Beriot sur la plage
Oil on panel: 5.6(h) x 9.4(w) in /
14.3(h) x 23.8(w) cm
Signed, inscribed and dated '92
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Honfleur 1824 – 1898 Deauville
Les enfants de Bériot sur la plage
Signed, dated and inscribed lower right: E. Boudin à Mlle Jeanne de Bériot. ’92;
inscribed lower left: Trouville
Oil on panel: 5 5/8 x 9 3/8 in / 14.3 x 23.8 cm
Frame size: 10 ½ x 14 in / 26.7 x 35.6 cm
In a Louis XIV style carved and gilded frame
Miss Jeanne de Bériot, Paris Muller, Paris Private collection, France;
Paris, Galerie Schmit, Eugène Boudin 1824-1898, 1965, p.78, no.99, illus.
Georges Jean-Aubry, Eugène Boudin, Neuchâtel 1968, p.171, illus. in colour Robert Schmit, Eugène Boudin, 1824-1898: Catalogue Raisonné de l’Oeuvre Peint, vol. III, Paris 1973, p.139, no.2948, illus.
Boudin can be credited with inventing the genre of the fashionable, contemporary beach scene. Earlier artists of the Normandy coasts had painted scenes of maritime drama or the lives of the fisherfolk. Boudin simply observed the bourgeoisie transplanted to their maritime habitat, without overt storytelling, but with acute observation of how a group of figures interlock and are embraced by the distinctive light and atmosphere. Boudin defended his choice of subject matter to his friend Ferdinand Martin in 1868: ‘[I have been congratulated] for daring to include the things and people of our own time in my pictures, for having found a way of making acceptable men in overcoats and women in waterproofs….The peasants have their favourite painters: Millet, Jacque, Breton, and that’s fine….But don’t these bourgeois, who stroll on the jetty towards the sunset, have the right to be fixed on canvas, to be brought to the light’.
This is a particularly delightful example of Boudin’s beach scenes, painted with great brio, revelling in the vivid colours and elegant details of the children’s clothes. Boudin conveys a sense of the radiant coastal light, the sand and sea with the most economical of means. The children were those of one of his most staunch patrons, the musician Charles-Wilfrid de Bériot, who amassed forty paintings by the artist. Bériot was the son of the famous soprano Maria Malibran. As was his charming habit, Boudin inscribes the painting, in this case to one of his young sitters, ‘Mlle Jeanne de Bériot’, who treasured it for many years.
Honfleur 1824 – 1898 Deauville
Eugène Boudin was one of the most important precursors of the Impressionists, with his emphasis on working directly from nature and free, naturalistic brushwork. His ‘Crinolines’, depicting fashionable holidaymakers enjoying the beaches of northern France, ushered in a new genre, but he was also renowned for coastal and harbour scenes.
Born in Honfleur, Boudin was the son of a harbour pilot and bred to the sea, working as a cabin boy for his father. After a brief period of schooling, in 1835, he worked with a stationer and framer who displayed the work of artists, then set up his own stationery and framing business in 1844. Boudin’s clients included Thomas Couture, Eugène Isabey, Jean-François Millet and Constant Troyon, all of whom had an influence on his efforts to draw and paint. In 1847 Boudin went to Paris to copy Old Masters in the Louvre; he was particularly impressed by the seventeenth century Dutch school and by the Barbizon painters. In 1851 he was awarded a three-year painting scholarship by the city of Le Havre. He drew his subjects from the Normandy and Brittany coasts. In 1858 he met the young Claude Monet, who had grown up in Le Havre, and stressed to him the importance of making oil paintings directly from nature to capture the constantly changing beauties of the landscape.
Boudin made his debut at the Salon in 1859, where his work was admired by Charles Baudelaire. He befriended Courbet, Daubigny and Corot, who heralded him as ‘the king of the skies’. Paris-based in the winter, Boudin spent his summers on painting tours around the coast of Le Havre, Honfleur and Trouville, inspired by the elegant society that flocked to the burgeoning seaside towns and by the busy maritime traffic. At Trouville in 1862 he met Johan Barthold Jongkind and, influenced by his boldness of technique, adopted freer brushwork and a brighter palette. The following year he married Marie-Anne Guédès.
Boudin made several journeys to Belgium and The Netherlands, initially to shelter from the Franco-Prussian War (1870-71). From 1892 to 1895 he visited Venice, making subtle, atmospheric and highly individual views. He also painted in the south of France, where he stayed in the 1890s for the health benefits of the mild winter climate. Boudin exhibited at the Salon from 1863 to 1897 and participated in the First Impressionist Exhibition in 1874.
From the 1870s Boudin enjoyed increasing financial security. In the 1880s he was taken up by the influential art dealer Paul Durand-Ruel, who organized exhibitions of his pictures in 1883, 1889, 1890 and 1891. In 1892 Boudin was awarded the Légion d’Honneur. He died in Deauville in 1898.