The Musée de Fécamp’s work shows that convergence of sensitivity which can sometimes be observed between Impressionist painters and writers such as Guy de Maupassant (1850-1893). Thus, without the writer having been able to see the canvas which was produced after his text was published, and possibly without the painter having read the work written five years before he produced his painting, we can observe a similar sensitivity between Schuffenecker’s work and a brilliant description of a painting by Chenal, a painter from Maupassant’s new work Miss Harriet (1884): “I had just finished a study which I considered admirable, which indeed it was: it was sold for ten thousand francs fifteen years later. It was easier, however, than two plus two make four and not according to academic rules. The entire right hand side of my canvas represented a rock, an enormous rock, covered in brown, yellow and red kelp, with the Sun streaming over it like oil. Without being able to see the Sun itself which was hidden behind me, the light fell on the rock and bathed it in fire. That was all. A first study of deafening clarity - on fire, magnificent. On the left was the sea - not blue or slate-grey, but jade, greenish, and milky yet solid under the dark sky”.
(Guy de Maupassant, Miss Harriet, 1884)