Claude Monet's choice of the popular seaside resort of ¨¦tretat for a working holiday in late January 1883 was perhaps prompted by the region's fame as a recreational location, and was in keeping with ¡®the impressionists¡¯ interest in subject matter reflecting modern life, especially the leisure activities of the bourgeoisie. A popular haven since the 1830s for artists and writers, ¨¦tretat, on the Normandy coast, by 1883 had developed into a thriving tourist resort, celebrated for its views of three enormous natural stone arches (the Porte d'Aval, Porte d'Amont and Manneporte) and a spectacular rocky 'needle' carved from the surrounding cliffs by the ferocious action of the sea. In three short weeks Monet painted some twenty canvases, which recorded all three arches and the spiky 'needle' under varying climatic conditions. Parisians holidaying in ¨¦tretat could party in the town's lavish casino or retire to the many luxury villas scattered nearby. Monet stayed in the H?tel Blanquet, whose advertisements boasted that 'every public and private room looks directly onto the ocean'. The hotel was situated extremely close to the beach, and the high viewpoint of many of the canvases produced during this trip shows that Monet often sheltered indoors from the inclement weather, painting 'nature' from the establishment's windows. ¨¦tretat was positioned directly on the beach immediately to the right of the view depicted in Monet's composition, but no indication is given here of the bustling presence of the town. The painting has been framed instead to focus upon the awesome power of nature (whose majesty is underscored by the tiny scale of the gesturing figures at the water's edge)¡ª although signs of the relentless tourist paths beaten around ¨¦tretat remain in the heavy zigzags of the numerous walking trails that surmount the Porte d'Amont in the distance. Rough surf was not uncommon at ¨¦tretat, where the pebbled beach dropped away very steeply, close to the shore. Text by DrTed Gott fromThe Impressionists Masterpieces from the Mus¨¦e d¡¯Orsay, National Gallery of Victoria, Melbourne, 2004, p. 73. ±êÌâ Rough weather at ¨¦tretat ´´×÷Õß Claude Monet ´´×÷ÕßÊÙÃü 14 November 1840 - 06 December 1926 ´´×÷Õ߹ú¼® French ´´×÷ÕßÐԱð Male ´´×÷ÕßȥÊÀµصã Giverny, France ´´×÷Õ߳öÉúµصã Paris, France ´´×÷ÈÕÆÚ (1883) ʵ¼ʳߴç 65.0 x 81.0 cm (Unframed) ÀàÐÍ Paintings ȨÀû National Gallery of Victoria, Melbourne Felton Bequest, 1913¡¢ ? National Gallery of Victoria ÍⲿÁ´½Ó National Gallery of Victoria ²ÄÖÊ oil on canvas Provenance With Galerie Durand-Ruel, Paris, 1883; from where purchased by Jean-Baptiste Faure (1830¨C1913); collection of Jean-Baptiste Faure, 1883 until 1901; from whom purchased by Galerie Durand-Ruel, 1901¨C13; from where acquired fro the Felton Bequest, 1913. Non-English title Gros Temps ¨¤ ¨¦tretat Additional information Close technical analysis of this painting reveals that the underlayer of paint in the lower half of the composition seems to have had its oil content removed, so that the area of the sea has a stiff texture with considerable body (John Payne, examination report, 26 March 1993, National Gallery of Victoria, Conservation Department files). Monet has applied a complex veil of flicks and whirls of paint over this dry sea 'bed', and it would therefore appear that the picture was worked to completion in a number of sessions (it was probably started on the beach, and later finished indoors). While the painting obviously records a distinct atmospheric effect, it also shows Monet delighting¡ªwhen he came to the finishing surface layer of the composition¡ªin a magical play of calligraphic licks and coils of paint, demonstrating affinities with his appreciation of Japanese calligraphy.
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