Normandy on Canvas
Long before Claude Monet created his Giverny lily pond by diverting the Epte River that marks the boundary with the Ile-de-France, artists had been scudding into Normandy for two watery reasons: the Seine and the sea. Just downstream from Vernon, where the Epte joins the Seine, Richard the Lion-Heart's ruined castle at Les Andelys, immortalized by Paul Signac and Félix Vallotton, heralds the soft-lighted, cliff-lined Seine Valley, impressionistically evoked by Albert Lebourg and Gustave Loiseau's pieces in the Arts Museum in Rouen—where Camille Corot once studied, and whose mighty cathedral Monet painted until he was pink, purple, and blue in the face.
The Seine joins the sea at Le Havre, where Monet grew up, a protégé of Eugène Boudin, often termed the precursor of Impressionism. Boudin would boat across the estuary from Honfleur, where he hobnobbed with Gustave Courbet, Charles Daubigny, and Alfred Sisley at the Ferme St-Siméon. Le Havre in the 1860s was base camp for Monet and his pals Frédéric Bazille and Johan Barthold Jongkind to explore the rugged coast up to Dieppe, with easels opened en route beneath the cliffs of Étretat.
The railroad from Gare St-Lazare (smokily evoked by Monet) put Dieppe within easy reach of Paris. Eugène Delacroix daubed seascapes here in 1852. Auguste Renoir visited Dieppe from 1878 to 1885; Paul Gauguin and Edgar Degas clinked glasses here in 1885; Camille Pissarro painted his way from Gisors to Dieppe in the 1890s. As the nearest port to Paris, Dieppe wowed the English, too. Walter Sickert moved in from 1898 to 1905, and artists from the Camden Town Group he founded back in London often painted in Dieppe before World War I.
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