{"id":206074,"date":"2026-08-27T10:21:28","date_gmt":"2026-08-27T08:21:28","guid":{"rendered":"https:\/\/svetslik.si\/nekategorizirano\/storm-on-the-belle-ile-coast-2\/"},"modified":"2026-09-11T03:24:47","modified_gmt":"2026-09-11T01:24:47","slug":"storm-on-the-belle-ile-coast","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/claude-monet\/storm-on-the-belle-ile-coast\/","title":{"rendered":"Claude Monet \u2013 Storm on the Belle-\u00cele Coast"},"content":{"rendered":"
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Storm on the Belle-\u00cele Coast is a hand-painted reproduction of Monet\u2019s sea painting from the Breton island: broken water takes up almost the whole canvas, two dark wet rocks rise out of the spray below, and across the upper third white water pours over brown reefs. Of the sky only a narrow grey band is left along the top edge. The original measures 81.5 x 65.4 cm, is oil on canvas and belongs to the Mus\u00e9e d\u2019Orsay in Paris under accession number RF 3163. The museum dates it to 1886. We paint it in eight sizes or to your own measurements, with a photograph of the finished work sent for approval before dispatch.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Title:<\/td>\nStorm on the Belle-\u00cele Coast<\/td>\n<\/tr>\n
Other titles:<\/td>\nTemp\u00eate, c\u00f4tes de Belle-\u00cele (the museum\u2019s own designation)<\/td>\n<\/tr>\n
Painter:<\/td>\nClaude Monet (1840\u20131926)<\/td>\n<\/tr>\n
Year of creation:<\/td>\n1886, as the museum dates it, without a hedge<\/td>\n<\/tr>\n
Original size:<\/td>\n81.5 cm x 65.4 cm<\/td>\n<\/tr>\n
Original technique:<\/td>\nOil on canvas<\/td>\n<\/tr>\n
Painting style:<\/td>\nImpressionism<\/td>\n<\/tr>\n
Located at:<\/td>\nMus\u00e9e d\u2019Orsay, Paris (acc. no. RF 3163)<\/td>\n<\/tr>\n
Our reproduction:<\/td>\nHand-painted oil on canvas, eight sizes or made to measure<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Storm on the Belle-\u00cele Coast \u2013 Claude Monet<\/h2>\n

What is on the canvas?<\/h3>\n

Almost nothing solid. Of the sky only a narrow grey band is left along the top edge, perhaps a fifteenth of the height; the rest is water. Across the upper third runs a line of brown, reddish rocks with white spray pouring over them \u2014 the only horizontal order in the picture. Below them a wide field of broken water opens out, green-grey, streaked with bands of foam running diagonally down. In the lower half two dark rocks rise out of it, one at the left edge and one right of centre, both almost black-blue and wet, with flashes of light along their edges, and a low cluster of smaller rocks between them. A signature sits at lower left; the museum does not transcribe it in its record, so we do not report what it reads.<\/p>\n

Where is Belle-\u00cele, and what was Monet doing there?<\/h3>\n

Belle-\u00cele is an island off the south coast of Brittany, in the Atlantic. Monet travelled there in the autumn of 1886 and stayed more than two months, far longer than intended. That coast was a new subject: instead of the quiet Seine or the Normandy beaches he found open ocean and black, sharply broken rock. This canvas belongs to a run painted there, and it is the most disordered of them \u2014 no boat, no house, no figure, only water and stone.<\/p>\n

How is the work dated?<\/h3>\n

To a single year. The Mus\u00e9e d\u2019Orsay gives \u201c1886\u201d under its date field, with no range and no cautious \u201cvers\u201d. Wikidata gives the same year at the same precision and the measurements agree to the decimal, so here museum and database do not diverge. On this shelf that is not automatic: for neighbouring works the museum sometimes gives a span or an \u201cabout\u201d, and there we state no year at all. Here we state it, because the institution that holds the work does.<\/p>\n

What does the museum record say about size?<\/h3>\n

The work belongs to the Mus\u00e9e d\u2019Orsay<\/a> under accession number RF 3163. It gives its measurements height by width, H. 65,4 ; L. 81,5 cm, and the framed figure 84 x 99.6 cm; our table puts width first, so here you read 81.5 x 65.4 cm. The technique is oil on canvas. This figure agrees with the one that stood on this page before, only there it was written height first; it is now turned into our order and is otherwise the same.<\/p>\n

The road to the Orsay: the Gaston Migeon bequest<\/h3>\n

The museum records one means of acquisition: \u201cLegs Gaston Migeon, 1932\u201d, the bequest of Gaston Migeon in 1932. Migeon was a curator at the Louvre and a collector, known above all for East Asian holdings; his bequest brought Impressionist work into the French public collections too. The museum publishes no chain of owners before that, so we invent none. That year separates this canvas from another we sell on this shelf, which reached the Orsay in 1896 with the bequest of Gustave Caillebotte.<\/p>\n

Five Belle-\u00cele coasts \u2014 which is ours?<\/h3>\n

A run of canvases survives from those two months and confusion is real: the subject is very alike across them. The most misleading neighbour is not far away but in Reims: the Mus\u00e9e des Beaux-Arts there holds The Rocks of Belle-\u00cele<\/em> under accession number 907.19.191, measuring 81.5 x 65.6 cm \u2014 two millimetres of difference in height and none at all in width. By measurement they cannot be told apart. What tells them apart is the title each museum gives: ours is a storm at the Orsay, the one in Reims is rocks. Closer in subject, and also sold on this shelf, are the Rocks at Port-Goulphar<\/a> in Chicago \u2014 which, unlike ours, are calm.<\/p>\n

Why is there no boat and no figure on this canvas?<\/h3>\n

Because nothing on it was made by a person. Among the sea subjects on this shelf it is the only one without a boat, house or figure \u2014 the others say so in their own titles, such as The Cliff Walk at Pourville<\/a>. There is no path, no sail, no smoke, and barely a horizon: a viewer has nothing to measure their own size against. That is why the canvas feels closer than expected.<\/p>\n

How is our hand-painted version made?<\/h3>\n

Every order is painted individually, in oils on cotton or linen. A canvas painting is made here without printing, transfer or machine steps; a Monet reproduction from this shelf is a new object, not a copy of a photograph. This subject is among the hardest on the shelf, because it holds almost no traceable shapes: spray is not an object but the trace of a movement, and it appears only if the painter lays the strokes quickly and in the right order. The white goes on last and thick, to stand above the greenish ground; mixed into it, the sea flattens. Every hand-painted oil painting that leaves our workshop is a little its own. Before dispatch you receive a photograph of the finished work.<\/p>\n

Which size for which wall?<\/h3>\n

Eight sizes are available, from 45 x 38 to 150 x 120 cm. The original is 81.5 cm wide and 65.4 cm high, so the closest by size is 80 x 60 cm, and the closest in proportion are 50 x 40 and 150 x 120 cm, both at 1.25, right beside the original\u2019s 1.246. This subject gains from size more than most: small, the spray runs together into grey; at 120 x 100 cm the strokes separate again and the water starts to work. As a painting for living room walls it reads strongly, because the only colour on the canvas is cold. Related sea subjects are in the Claude Monet gallery<\/a>: Rocks at Port-Goulphar<\/a> from the same island, The Green Wave<\/a> and Fishing Boats on the Beach at \u00c9tretat<\/a>.<\/p>\n

Made to measure, stretcher and frame<\/h3>\n

None of the eight sizes repeats the original\u2019s proportion exactly. If that proportion is what you want, made to measure is the only route: send us the width and height<\/a> in centimetres. The canvas can arrive stretched and ready to hang, or rolled in a tube if you will have it framed yourself. A frame is not included in the price. This scene suits a dark or grey frame that makes an edge and holds the broken water in; a pale one merges with the white spray and the canvas loses its border. The museum keeps its original in a frame that brings the whole to 99.6 x 84 cm.<\/p>\n

Delivery and guarantee<\/h3>\n

Painting usually takes two to three weeks, longer at the largest sizes, because the oil has to dry between layers. Stretched canvases travel in a rigid box, rolled ones in a tube. If the work arrives damaged, or differs noticeably from the photograph you approved, we replace or refund it. A hand-painted copy is not a factory product and small differences in the brushwork are expected; damage or the wrong subject are not. We deliver within the European Union.<\/p>\n

Frequently asked questions<\/h3>\n

Where is the original?<\/h4>\n

In Paris, at the Mus\u00e9e d\u2019Orsay, under accession number RF 3163. It arrived in 1932 with the bequest of Gaston Migeon.<\/p>\n

Which place is painted?<\/h4>\n

The coast of Belle-\u00cele off southern Brittany, in the Atlantic. Monet painted there in the autumn of 1886, for more than two months.<\/p>\n

Is the Reims work the same canvas?<\/h4>\n

No. The Rocks of Belle-\u00cele<\/em>, acc. no. 907.19.191, measures 81.5 x 65.6 cm \u2014 almost identical by measurement, different by title: those are rocks, ours is a storm.<\/p>\n

Is this a print?<\/h4>\n

No. An oil painting reproduction is always made by hand here, in oils on canvas. We sell nothing printed or machine-transferred.<\/p>\n

Which size should I choose?<\/h4>\n

Measure the wall, or the furniture beneath it, and pick a canvas taking up roughly two thirds of that width. With this subject, larger: small strokes need room.<\/p>\n

Can I have a size that is not listed?<\/h4>\n

Yes. Making it to your own measurements is routine here, and the only way to keep the original\u2019s proportion of 81.5 to 65.4.<\/p>\n

How does the work reach me?<\/h4>\n

Stretched in a rigid box or rolled in a tube, with tracking. Before that you receive a photograph of the finished work.<\/p>\n

What does the work say in one sentence?<\/h4>\n

That the sea in a storm has no shape, and can only be painted by giving up drawing.<\/p>\n

Is the original for sale, and what is it worth?<\/h4>\n

It is not. It has been in a public collection since 1932. Nobody sets a price on it, and neither do we.<\/p>\n

How high should I hang it?<\/h4>\n

Centre it about 145 cm above the floor; over furniture, keep the lower edge 20 to 30 cm clear. We write more about hanging on our blog<\/a>.<\/p>\n

Is it suitable as a gift?<\/h4>\n

It is, and if you cannot decide on a size there is a gift voucher<\/a> that lets the recipient choose both size and subject.<\/p>\n