FEATURE image: Eugène Boudin, The Beach at Villerville, 1864, Oil on canvas, 18 × 30 1/16 in. (45.7 × 76.4 cm), National Gallery of Art, Washington, D.C.
Eugène Boudin was far more than a painter of Normandy beaches. He was a pioneering observer of light, atmosphere, sky, and modern life whose artistic innovations helped lay the groundwork for Impressionism, even though he remained independent of the movement and received full recognition only late in life.
Return to Normandy: Boudin’s Final Coastal Masterpieces
In 1893, in the last years of his long and successful art career, 69-year-old Eugène Boudin returned to the Normandy coast for which this French painter of skies and beaches is rightly associated. It was at this time that he painted Sunset on the Beach (below) in a private collection. After Boudin began to be widely collected in the 1870’s and 1880’s he traveled and lived and worked far away from the region where he was born and grew up and had embarked on a career as an artist. Yet, as soon as the mid-to-late 1850’s, important artists and writers were already appreciating the sensitivity to which Boudin painted artwork in nature. Charles Baudelaire (1821-1867) believed he could identify with precision the season and hour of Boudin’s subject matter. Realist painter Gustave Courbet (1819-1877) who once said “show me an angel and I will paint him” called Boudin a “seraph.” Remarkably, Barbizon painter Camille Corot (1796-1875) exclaimed: “Boudin, you are king of the skies!”
Eugène Boudin (1824-1898), Sunset on the Beach, oil on canvas, 1893, private collection.
Painter of Sky, Sea, and Modern Life
Throughout the mid-to-late nineteenth century, Boudin’s subject matter was timeless land, sea and skyscapes which he sometimes populated with contemporary human figures in modern bourgeois costume and dress. Often, the landscapes are devoid of human presence excepting the artist’s gaze.
Eugène Boudin, White Clouds over the Estuary, c.1857.Eugène Boudin, Crinolines on the Beach, 1863.Eugène Boudin, Douarnenez, Fishing Boats at Dockside, 1855. Eugène Boudin, Deauville, Low Tide, c.1863.Eugène Boudin, The Beach at Villerville, 1864, Oil on canvas, 18 × 30 1/16 in. (45.7 × 76.4 cm), National Gallery of Art, Washington, D.C.
Boudin and the Impressionists
Boudin was a friend of the Impressionists and exhibited in their first exhibition in Paris in 1874. Claude Monet (1840-1926), born in Paris, also grew up in Normandy. Boudin and Monet painted together en plein aire as each sought, discovered, and honed their artistic styles.
Boudin did not think of himself primarily as an avant-garde artist and did not exhibit in the Impressionist exhibitions after 1874. Yet, with these Impressionists, Boudin’s artwork depicted light and its reflections, especially its darker filaments, in preference to volumes and forms.
Eugène Boudin ,Seascape with Large Sky, 1860.
Expanding Subjects and Artistic Development
In addition to beach scenes, skies, sea, and countryside, Boudin painted still life, animals, and a few portraits. In the 1870s Boudin painted harbors and ships. In his subject matter his pictures presented a complete and even-handed depiction, evocative of eighteenth-century genre paintings.
Slightly older Dutch painter Johan Jongkind (1819-1891) had encouraged Boudin to paint outdoors. Boudin, now surrounded by nature, became increasingly spontaneous in his artwork and used brighter colors.1
Eugène Boudin, Spray of Flowers – Hollyhocks, 1858.Eugène Boudin, study of cows, c. 1860.Eugène Boudin, Vue de Trouville, 1873.Eugène Boudin, Entrance to the Harbor, Le Havre, 1883, National Gallery of Art, Washington, D.C. Eugène Boudin, Trouville, Shore and Rocks, c.1862.
Debut at the Paris Salon
In 1859, 35-year-old Eugène Boudin, the painter of seascapes and beaches, made his debut at the Salon. The annual Salon began in the late 17th century (1667). It was sponsored by the monarchy and highlighted artwork of members of the Academie royale de peinture et de sculpture. The all-important Salon operated in this basic form for almost 200 years. It was held irregularly at first (frequently there would be no exhibition held for years) though between 1774 to 1792 the Salon was held biennially.
The Salon’s Importance in the Art World
This elite Salon was a competitive platform for artists to display their work where the goal was to gain public and private commissions. The Salon was the sole venue in France for contemporary fine art and was popular to visit by a cross-section of society where many purchased the livret, the Salon’s official catalogue. In 1795 during the French Revolution the historically royal venue was opened to all artists. This more inclusive Salon experience led to the extension of official French art’s influence throughout Europe. In the Salon of 1800, American artists exhibited for the first time.2
Recognition Comes Slowly
Between 1864 and 1879 Boudin exhibited in the Salon every year.3 However, important critics, such as the influential Albert Wolff (1835-1891), ignored Boudin for much of this time. It was in 1881, 22 years after Boudin’s Salon debut, that M. Wolff published an article in Le Figaro that led to Boudin’s greater official recognition.4
In the last decades of the 19th century, Boudin exhibited yearly from 1880 to 1889 at the Salon des Société des Artistes Français5 and, with a single exception, from 1890 to 1897 at the Société National des Beaux-Arts.6 Some of Boudin’s works were bought by the State in the late 1880’s and early 1890’s.7 Ernest Chesneau (1833-1890) had written on Boudin in Paris-Journal that while the painter was ignored by official art world critics he was a “real talent” among the Salon’s “latest banalities.”
The Rise of Independent Exhibitions
In 1881 control of the Salon was ceded to the Société des Artistes Français. In the 1880’s and 1890’s there were several groups outside the Salon who mounted exhibitions. These included the one-time Salon des Refusés in 1863, the Société des Artistes Indépendants or Salon des Indépendants, beginning in summer 1884, and the salons of the Société nationale des beaux-arts, from 1890. These types of independent, unofficial exhibitions, continued into the 20th century with the Salon d’automne in 1903.8
Eugène Boudin, Elegant Women on the Beach, 1863.
Praise from Courbet, Corot, and Baudelaire
In 1859 Boudin met Gustave Courbet who introduced Boudin to the poet and art critic Charles Baudelaire. Courbet, painting at Boudin’s side, exclaimed: “Mon Dieu, you are a seraph, Boudin! You are the only one of us who really knows the sky!” In 1861 Boudin met Camille Corot who called Boudin the “king of the skies.”
Charles Baudelaire noted in 1859 that he had seen in Boudin’s studio “hundreds of pastel studies improvised before the sea and the sky.” Baudelaire described these artworks as “the prodigious magic of air and water.”9 The economy of Boudin’s artwork with its summary figures of modern life attracted Baudelaire’s praise during the 1859 Salon. Baudelaire became convinced, when looking at a Boudin painting, that he could identify the season, hour and wind direction of the subject matter depicted in pastel or paint.10
Eugène Boudin, Near Honfluer, c.1856.
Growing Reputation and Market Success
At the Impressionist Exhibition of 1874, the critic Castagnary (1830-1888), author of “The Triumph of Naturalism” in 1868, wrote on Boudin in Le Siècle. He cited “the very high prices” that Boudin was experiencing as collectors “fought over” his beach scenes and seascapes. Castagnary concluded in 1874 that the 50-year-old Boudin had “commanded respect for years.”11 In 1868 Boudin’s auction of 40 paintings and 100 watercolors and pastels at the Hôtel Drouot had been quite successful. That same year Boudin won a silver medal at the Exposition maritime international exhibiting with Courbet, Charles-François Daubigny (1817-1878), Monet and Édouard Manet (1832-1883).
In 1874, Marc de Montifaud (Marie Amélie Chartroule, 1850-c.1912), art critic for L’Artiste and soon to found L’Art modern magazine in 1875 (and which merged with Les Beaux-Arts in 1877) cited the titles of a few paintings by Boudin out of the 13 works he exhibited which included watercolors and pastels. Yet De Montifaud’s placement of Boudin’s work under the category of “marine paintings,” did little to elucidate exact canvasses when the time came later to identify such.12
Travel, Patronage, and Durand-Ruel
In the 1860’s Paris dealers such as Martin, Hagerman and Gauchez were regularly buying his work. Boudin’s growing reputation and financial security enabled him to travel extensively in the 1870s and 1880s. Boudin, who married Marie-Ane Guédès in 1863, painted in Belgium, the Netherlands and southern France in that period. From 1892 to 1895 he regularly visited Italy, traveling to Venice. In addition to being awarded medals at the Salon, the Exposition Universelle in 1889, and other exhibitions, Boudin, in 1881, became represented by Paul Durand-Ruel (1831-1922).
Eugène Boudin, Place Ary Scheffer, Dordrecht, 1884, oil on panel 27×21.5 cm Dordrecht Museum, Netherlands.
Solo Exhibitions and International Success
In the late 1870s Boudin, then without dealer representation, held several auctions of his artwork which produced varying sales results. In 1881, Durand-Ruel bought all of Boudin’s studio inventory. In 1883 Boudin had a solo exhibition at Durand-Ruel’s that featured 150 paintings, and pastels and watercolors and in 1886 an exhibition of 23 works at Durand-Ruel’s in New York City. From July 8 to August 14, 1889 – the year Boudin’s wife died – the artist staged a one-man exhibition in Paris at Durand-Ruel’s featuring 98 pictures.13 In 1890 Boudin held an exhibition at Durand Ruel’s in Boston featuring 13 paintings and a solo exhibition in Paris at Durand-Ruel’s with 34 paintings, and as many pastels and several drawings in 1891.
Eugène Boudin, Le port d’Antibes, 1893, Musée d’ Orsay.
Boudin’s reputation grew steadily from overlooked Salon painter to respected master, championed by figures such as Baudelaire, Courbet, Corot, Monet, Durand-Ruel, and later generations of critics.
Final Years and Return to Normandy
As a refuge for his ill-health, Boudin lived in the south of France for many years but finally returned to Deauville. In 1898 Boudin died at 74 years old under the skies of La Manche which he had been inspired to paint often.
Honors and Legacy
In 1892 Eugène Boudin was made a knight of the Légion d’honneur which recognized the artist’s talent and influence on the art of his contemporaries. Today, the Société Nationale des Beaux-Arts gives the Eugène Boudin Prize.
After Boudin’s death, his artistic reputation continued to grow. In 1899, The École des Beaux Arts held a major retrospective with 457 works (including 364 paintings, 73 pastels, and 20 watercolors). Boudin was praised by art critics Roger Marx (1859-1913), Arsène Alexandre (1859-1937), and Guillaume Apollinaire (1880-1918), among others,
Eugène Boudin, Étretat 1891,Chazen Museum of Art, Madison, Wisconsin.
An Overlooked Pioneer of Modern Art
Despite the artist’s modest consideration for his art, Boudin was viewed in retrospect by 20th century’s critics as an initiator of the avant-garde, though he did not quite ascend to the turbulent aesthetic heights of Manet and Monet.14.
In 1872, art critic Louis Duranty (1833 -1880) published a short story that included fictional and historical characters including artists such as Boudin, Manet, Corot, Jean-François Millet (1814-1875), Edgar Degas (1834-1917), and Courbet. Of Boudin, Duranty wrote: “Here is a simple, sagacious, conscientious mind who puts forward (the artwork’s) feeling in gray, fine, fair notes.”
Footnote 3: “The Display of Art: Exhibitions, Biennials, Salons: Paris Salons,” University of Kansas Libraries, last modified August 6, 2026, accessed December 18, 2021, ku.edu.
Footnote 4: “Critiques d’art,” MuMa Le Havre: site officiel du musée d’art moderne André Malraux, accessed December 18, 2021, http://www.muma-lehavre.fr/en/node/1004.
Footnote 6: Selz, Eugène Boudin, 25; “The Display of Art: Paris Salons,” University of Kansas Libraries, ku.edu.
Footnote 7: Selz, Eugène Boudin, 25.
Footnote 8: “Catalogs of the Paris Salons: Introduction,” Northwestern University Libraries, last modified August 12, 2024, accessed December 18, 2021, https://libguides.northwestern.edu/Paris_Salons.
FEATURE image: Thérèse Martin (St. Thérèse of Lisieux) at 15 years old in a photograph taken in October 1887.
Saint Thérèse of Lisieux demonstrated that sanctity is achieved not through dramatic achievements but through humility, trust, suffering accepted with love, and fidelity to ordinary daily life, a spiritual vision that transformed an unknown Carmelite nun into one of the most influential figures in modern Christianity.
Thérèse Martin at 8 years old in 1881.
Thérèse Martin at 8 years old in 1881 with her sister Céline. The Martin family had moved from Alençon to Lisieux to be with the Guerin relatives. Zélie Martin had died four years before.
By John P. Walsh
October 1 is the feast day of Saint Thérèse of Lisieux (French, 1873-1897), one of only four women “doctors” in the Roman Catholic Church, and popularly known as The Little Flower of Jesus. Her religious name is Thérèse of the Child Jesus and the Holy Face and, with St. Francis of Assisi, she is one of today’s most popular saints. For a young Norman woman who died at 24 years old in an obscure convent in northern France that is a surprisingly solid list of titles and accolades.
Yet, when she died on September 30, 1897, the Carmelite nuns in her community at the Carmel in Lisieux didn’t think they had any accomplishments to cite for her obituary. Her sister Céline (1869-1959), a nun in the same convent as Thérèse, observed: “In general, even in the last years, she continued to lead a hidden life, the sublimity of which was known more to God than to the Sisters around her.”1
Born Marie-Françoise-Thérèse Martin in 1873, she was the youngest of five sisters and lively and precocious. She lost her mother Zélie Martin (née Guérin, 1831-1877) to breast cancer as a four-year-old. The next decade – according to Thérèse’s journal (The Story of a Soul, begun in 1895) – was the most “distressing” years of her life.2
Thérèse’s mother was the breadwinner in the Martin house and after she died little Thérèse naturally turned to her father Louis (1823-1894) for nurturing along with her four older sisters — especially the second eldest, Pauline.
For the rest of the 1870s and into the 1880s, Thérèse was the high-spirited baby sister in the family home called Les Buissonnets in the Normandy town of Lisieux.
Les Buissonnets, at 22 Chemin des Buissonnets in Lisieux, Normandy, is the historic brick home where St. Thérèse of Lisieux spent her childhood. The Martin family moved here in November 1877 after the death of her mother, Zélie Martin, in Alençon. Thérèse lived in this house from age four until she left at fifteen to enter the Carmel of Lisieux in 1888, beginning the religious life that would define her legacy.
Thérèse was born in Alençon in 1873 and raised in Lisieux after the death of her mother.
Les Buissonnets, St. Thérèse of Lisieux’s childhood home in Lisieux, France. October 2002. Author’s photograph.
St. Azélie-Marie “Zélie” Martin née Guérin (1831 -1877) and St. Louis Martin (1823 –1894), the mother and father of Saint Thérèse of Lisieux. The married couple were canonized together in the Catholic Church by Pope Francis on October 18, 2015.
As three of Thérèse’s sisters left the family homestead to enter convents -– two of them to a Carmelite convent (“Carmel”) in Lisieux and another later to a Visitation convent in Caen– the two youngest sisters, Céline and Thérèse, remained at home with their father.
Although Louis adored Thérèse and called her his “little flower,” Thérèse was headstrong and obstinate and she seemed to do chores with the attitude like she was doing the household a big favor. The young child also began to have panic attacks. Though intelligent and educated, at ten years old Thérèse believed she saw a statue of the Blessed Virgin given to her by her mother in her bedroom smile at her. While unusual, from that point forward, the girl’s nerves calmed. These early tantrums left a mark on her reputation. They, along with some of her later writings in journals, letters, and poems, left the future saint prey for others in her lifetime and after her death to be called “immature” and “sentimental,” even “neurotic.”3
Doubtless some of Thérèse’s thoughts sound naïve, though she writes profoundly: “At times when I am reading certain spiritual treatises in which perfection is shown through a thousand obstacles…my poor little mind quickly tires; I close the learned book that is breaking my head and drying up my heart and I take up Holy Scripture. Then all seems luminous to me; a single word uncovers for my soul infinite horizons, perfection seems simple to me, I see it is sufficient to recognize one’s nothingness and to abandon oneself as a child into God’s arms.”4
Marie.
Marie (1860-1940), the eldest Martin sister. After she entered the Carmel in Lisieux, she was called Sister Marie of the Sacred Heart.
Pauline.
Pauline (1861- 1951). Thérèse’s “favorite” sister. When Pauline entered the Carmel in Lisieux her name was Mother Agnes of Jesus.
Léonie.
Léonie (1863-1941). She entered the Visitation Sisters in Caen and took the name Sister Françoise-Thérèse.
Céline.
Céline (1869-1959) was four years older than Thérèse and closest in age. She entered the Carmel in Lisieux after Thérèse and took the name Sister Geneviève of the Holy Face.
On April 9, 1888, a 15-year-old Thérèse entered the Carmel de Lisieux on Rue du Carmel, less than a one-half mile walk from Les Buissonnets. Younger than a typical postulant, exceptions had to be made. She received the habit after some delay mostly because of her father’s declining health in January 1890. Although her profession was also postponed, Thérèse’s spiritual life was deepening through her reading of another Carmelite, St. John of the Cross (1542-1591).
St. Thérèse of Lisieux as a young nun read deeply of Saint John of the Cross who said many beautiful things about having a close relationship with Jesus.
In due time, despite difficulty in prayer and doubts about becoming a nun, Thérèse received the black veil in September 1890. In early 1891 the 18-year-old Thérèse was made sacristan’s aide, a duty she carried into 1892 as her father lay slowly dying. During this time her reading and prayer transitioned to the Gospels and she began to write poems for which she had talent. Founded in 1838 as a “progressive” convent so that by the 1890’s the nuns were allowed to practice photography within its walls, the Carmel was also a working-class foundation comprised of daughters of shop-keepers and craftspeople brought up to expect a day’s work for a day’s wage. Thérèse, like another young French mystic saint, St. Bernadette Soubirous, sought to be useful.
When Thérèse’s favorite sister Pauline was elected prioress in early 1893, Thérèse was appointed novice master (though a novice herself) and embarked on her artistic avocation of picture painting. Scheduled to graduate from the novitiate in September 1893 it was postponed in part due to convent politics. The duty of doorkeeper’s aide was added to Thérèse’s tasks.
In the spring of 1894 Thérèse began to experience chest pains and a hoarse throat that grew worse by that summer. After her father died in July 1894, Céline entered the Carmel six weeks later. It was at that time that Thérèse began to seriously formulate her “little way” of seeking holiness of life based on scripture passages. Before 1894 had ended, her sister Pauline (Mother Agnes Of Jesus) ordered her to begin to record her life story in a journal (The Story of a Soul). The novice composed her journal in segments in her free time over the next two and a half years.
Early in 1895 Thérèse voiced the first prediction of her death as her prayer life was working out an idea for what she would dedicate her life to. It would be a life with God whom she called Merciful Love. On June 9, 1895, the Feast of the Holy Trinity, during Mass, Thérèse decided to offer herself to Merciful Love who is the Lord. Thérèse confided these spiritual developments to Céline so that by summer 1895 Thérèse recommended the same devotion to more nuns in the community.
Sister Geneviève recounted later in her memoirs: “Coming out of Mass, eyes all on fire, breathing holy enthusiasm, Thérèse dragged me without saying a word to follow our Mother who was then Mother Agnes of Jesus. She told him in front of me how she had just offered herself as a Holocaust Victim to Merciful Love, asking her permission to deliver us together. Our Mother, in a great hurry at the moment, allowed everything without really understanding what it was about. Once alone, Thérèse confided in me the grace she had received and began to compose an act of offering.” (”Au sortir de la messe, l’œil tout enflammé, respirant un saint enthousiasme, Thérèse m’entraîna sans mot dire à la suite de notre Mère qui était alors Mère Agnès de Jésus. Elle lui raconta devant moi comment elle venait de s’offrir en Victime d’Holocauste à l’Amour Miséricordieux, lui demandant la permission de nous livrer ensemble. Notre Mère, très pressée en ce moment, permit tout sans trop comprendre de quoi il s’agissait. Une fois seule, Thérèse me confia la grâce qu’elle avait reçue et se mit à composer un acte d’offrande.”)
June 11, 1895.
Céline (Sister Geneviève) and Thérèse, June 11, 1895.
Throughout 1895 Thérèse continued to write–composing poems and giving them as gifts on special occasions, writing plays and painting pictures. Her spirit was characterized by humility.
Thérèse wrote: “How shall she prove her lovesince love is proved by works? Well, the little child will strew flowers, she will perfume the royal throne with their sweet scents, and she will sing in her silvery tones the canticle of Love.”5 (the emphases are Thérèse’s).
July 1876, Thérèse.
Taken in the first part of July 1876, Thérèse is 3 1/2 years old. As a child she was stubborn and headstrong. For this photography sitting, Thérèse was fidgety and ill at ease. Looking as if she might cry, the photographer had to take her photograph several times so to achieve this image of Thérèse with a pouting look. Thérèse’s mother, Zélie Martin, accompanied her youngest child during the photography session and had to reassure her throughout.
February 1886.
Thérèse was 13 years old in this photograph taken in February 1886. Just months later, at Christmas 1886, Thérèse made her first Holy Communion and at once her nervous childhood sensitivity stopped. That December 1886 she wrote about these occurrences, stating: “I felt love enter my soul, and the need to forget myself and please others, and since then I have been happy.”
October 1887.
Pretty and well-dressed Thérèse at 15 years old in a photograph taken in October 1887. At the time this photograph was taken Thérèse was seeking the permission of Bishop at Bayeux, Flavien-Abel-Antoinin Hugonin (1823-1898), to enter the convent of Carmel. She entered on April 9, 1888.
Thérèse 1887.
Thérèse entered the Carmelite convent in Lisieux at age fifteen after obtaining special permission because of her youth.
Above: Recent photograph of the Carmelite convent (Carmel) where Thérèse Martin entered at Lisieux in April 1888 and photograph of Carmel taken in September 1894 by Céline. Thérèse stands on the steps, third from the right.
Bishop Flavien-Abel-Antoine Hugonin (July 3, 1823 – May 2, 1898).
Bishop Hugonin of Bayeux and Lisieux had confirmed Thérèse on June 14, 1884. Nearly four years later, he authorized, with some reluctance on account of her young age, Thérèse’s entrance in Carmel at 15 years old. Soon after, Bishop Hugonin presided over her clothing on January 10, 1889 as he showed continued solicitude for the young Carmelite novice he had specially approved. Less than two months before his own death in May 1898, Bishop Hugonin, on March 7, 1898, gave his verbal imprimatur to Thérèse’s Story of a Soul.
Thérèse January 1889.
Above: Thérèse as a novice in Carmel in January 1889. She was 16 years old and in the convent nine months. The photographs were taken by Fr. Gombault, the bursar of the minor seminary.
Late 1894.
Thérèse (right) was one of five Martin sisters who became religious nuns. The photograph was taken by Céline in late 1894 or early 1895.
Original oil oval portrait painting of Thérèse by Céline based on her photograph of Thérèse around Christmas 1894. Céline later claimed that this image captured the real Thérèse. National Shrine & Museum of St. Thérèse, Darien. Author’s photograph.
Detail of a photograph of Thérèse taken by Céline in late 1894 or early 1895. The photographic image was the basis for an oval portrait painting done by Céline in the same time period.
Thérèse dressed as Joan of Arc in winter 1895.
A series of photographs taken by Céline from January 21 to March 25, 1895, in the convent courtyard. Thérèse is dressed as Joan of Arc. Thérèse played the part of La Pucelle in a play Thérèse had written called Joan of Arc Accomplishing Her Mission.
A longtime revered figure in France, Joan of Arc was not yet a canonized saint in late winter 1895 (Joan became a saint in 1920 and is today patron of France).
In March 1895 Thérèse was 22 years old. In a little over a year Thérèse’s symptoms of tuberculosis indicated a serious turn for the worse in her health. Over the next two years, her health continued to decline so that by summer 1897 Thérèse was on her death bed.
Close up of a photograph taken by Céline of Thérèse dressed as Joan of Arc in 1895.
Thérèse developed her famous spiritual philosophy known as the “Little Way,” rooted in humility, simplicity, and complete trust in God and love of Him.
Thérèse knew her great desire to be a missionary to Vietnam was now impractical. In June 1895 Thérèse decided to have an earthly mission within convent walls of “merciful love” and the “little way.” Like young Joan of Arc, Thérèse’s spiritual mission began on earth and would continue in heaven. So that a little over 6 months before her early death at 24 years old, Thérèse implored the favor by the command of Our Lord and of the Angels of “spending her heaven doing good on earth.”
Community of 22 Carmelite nuns in a photograph taken by Céline on Easter Monday, April 15th, 1895. First row left to right: Geneviève of the Holy Face (Céline). Second row left to right: Mother Agnès of Jesus (Pauline) and Thérèse of the Child Jesus.
Easter Monday, April 15, 1895.
Photograph taken by Céline for the feast of the Good Shepherd, April 27 or 28, 1895. Thérèse is at right between two of her white-veiled novices.
Above photograph (including close-up) was taken by Céline in July 1896. Thérèse had been ill for several months.
After July 3, 1896, photograph taken by Céline.
Thérèse 1896.
Thérèse holds a lily in a photograph taken by Céline in the convent garden in July 1896.
Carmel, July 1896.
Photograph of the community taken by Céline. July 1896.
November 1896.
Photograph taken by Céline in early-mid November 1896 of her sisters and cousin showing the work of the sacristan. Thérèse stands at right. In September 1896 Thérèse wrote a letter to her sister Marie whose text called Manuscript B became part of The Story of a Soul.
Thérèse recorded her spiritual experiences in The Story of a Soul, one of the most influential religious autobiographies of the modern age.
Photocopied pages of Thérèse’s original notebook entries in Thérèse’s own handwriting. National Shrine & Museum of St. Thérèse, Darien. Author’s photograph.
Published transcriptions of The Story of a Soul (“HISTOIRE D’UNE AME”) have varied over the years by way of editorial additions, omissions or consolidations that have taken liberties with Thérèse’s original notebook entries whose form can be like a shower of roses of her memory. One version of the spiritual classic that was updated to 1911 had followed her second exhumation in 1910 in the presence of the bishop of Bayeux which led to the start of her canonization process in 1914 (Thérèse of Lisieux was canonized in Rome on May 17, 1925). The text provides in French the following transcription of these photocopied pages in Thérèse’s own handwriting. They appear in chapter 4 (“CHAPITRE IV”) of the 1911 publication where Thérèse discusses her life in the mid-1880s as a child and teenager which includes her first Communion, Confirmation, and her personal experiences of light and darkness. Thérèse relates her deliverance from her interior pains which left her with an indescribably deep sweet peace that followed her into the convent of Carmel in Lisieux in 1888 and stayed with her in that place amid the greatest trials until her death there in 1897. These pages are part of the display at the National Shrine and Museum of St. Therese in Darien, Illinois.
French:
A cette époque, il m’eût été bien doux de faire oraison; mais Marie, me trouvant assez pieuse, ne me permettait que mes seules prières vocales. Un jour, à l’Abbaye, une de mes maîtresses me demanda quelles étaient mes occupations les jours de congé, quand je restais aux Buissonnets. Je répondis timidement: «Madame, je vais bien souvent me cacher dans un petit espace vide de ma chambre, qu’il m’est facile de fermer avec les rideaux de mon lit, et là, je pense…—Mais à quoi pensez-vous? me dit en riant la bonne religieuse.—Je pense au bon Dieu, à la rapidité de la vie, à l’éternité; enfin, je pense!» Cette réflexion ne fut pas perdue, et plus tard ma maîtresse aimait à me rappeler le temps où je pensais, me demandant si je pensais encore… Je comprends aujourd’hui que je faisais alors une véritable oraison, dans laquelle le divin Maître instruisait doucement mon cœur. Les trois mois de préparation à ma première communion passèrent vite; bientôt je dus entrer en retraite et pendant ce temps devenir grande pensionnaire. Ah! quelle retraite bénie! Je ne crois pas que l’on puisse goûter une semblable joie ailleurs que dans les communautés religieuses: le nombre des enfants étant petit, il est d’autant plus facile de s’occuper de chacune. Oui, je l’écris avec une reconnaissance filiale: nos maîtresses de l’Abbaye nous prodiguaient alors des soins vraiment maternels. Je ne sais pour quel motif, mais je m’apercevais bien qu’elles veillaient plus encore sur moi que sur mes compagnes. Chaque soir, la première maîtresse venait avec sa petite lanterne ouvrir doucement les rideaux de mon lit, et déposait sur mon front un tendre baiser. Elle me témoignait tant d’affection, que, touchée de sa bonté, je lui dis un soir: «O Madame, je vous aime bien, aussi je vais vous confier un grand secret.» Tirant alors mystérieusement le précieux petit livre du Carmel, caché sous mon oreiller, je le lui montrai avec des yeux brillants de joie. Elle l’ouvrit bien délicatement, le feuilleta avec attention et me fit remarquer combien j’étais privilégiée. Plusieurs fois, en effet, pendant ma retraite, je fis l’expérience que bien peu d’enfants, comme moi privées de leur mère, sont aussi choyées que je l’étais à cet âge. J’écoutais avec beaucoup d’attention les instructions données par M. l’abbé Domin, et j’en faisais soigneusement le résumé. Pour mes pensées, je ne voulus en écrire aucune, disant que je me les rappellerais bien; ce qui fut vrai. Avec quel bonheur je me rendais à tous les offices comme les religieuses! Je me faisais remarquer au milieu de mes petites compagnes par un grand crucifix donné par ma chère Léonie; je le passais dans ma ceinture à la façon des missionnaires, et l’on crut que je voulais imiter ainsi ma sœur carmélite. C’était bien vers elle, en effet, que s’envolaient souvent mes pensées et mon cœur! Je la savais en retraite aussi; non pas, il est vrai, pour que Jésus se donnât à elle, mais pour se donner elle-même tout entière à Jésus, et cela le jour même de ma première communion. Cette solitude passée dans l’attente me fut donc doublement chère. Enfin le beau jour entre tous les jours de la vie se leva pour moi! Quels ineffables souvenirs laissèrent dans mon âme les moindres détails de ces heures du ciel! Le joyeux réveil de l’aurore, les baisers respectueux et tendres des maîtresses et des grandes compagnes, la chambre de toilette remplie de flocons neigeux, dont chaque enfant se voyait revêtue à son tour; surtout l’entrée à la chapelle et le chant du cantique matinal: O saint autel qu’environnent les anges!*
At that time, it would have been very sweet for me to make prayers; but Mary, finding me quite pious, allowed me only my vocal prayers. One day, at the Abbey, one of my mistresses asked me what my occupations were on my days off, when I stayed at Les Buissonnets. I replied timidly: “Madam, I often go to hide in a small empty space in my room, which it is easy for me to close with the curtains of my bed, and there, I think…—But what are you thinking? said the good nun, laughing.—I think of God, of the rapidity of life, of eternity; well, I think!” This reflection was not lost, and later my mistress liked to remind me of the time when I thought, asking me if I still thought… I understand today that I was then making a true prayer, in which the divine Master gently instructed my heart. The three months of preparation for my First Communion passed quickly; Soon I had to retire and during this time become a boarder. Ah! What a blessed retreat! I do not believe that one can taste such joy anywhere else than in religious communities: the number of children being small, it is all the easier to take care of each one. Yes, I write it with filial gratitude: our mistresses of the Abbey then provided us with truly maternal care. I do not know for what reason, but I could see that they watched over me even more than my companions. Every evening, the first mistress came with her little lantern gently to open the curtains of my bed, and placed on my forehead a tender kiss. I listened very carefully to the instructions given by Father Domin, and I carefully summarized them. For my thoughts, I would not write any, saying that I would remember them well; which was true. With what happiness I went to all the services like the nuns! I was noticed in the midst of my little companions by a large crucifix given by my dear Léonie; I put it in my belt like missionaries, and it was thought that I wanted to imitate my Carmelite sister in this way. It was to her, indeed, that my thoughts and my heart often flew away! I knew she was retired too; not, it is true, so that Jesus might give himself to her, but to give herself entirely to Jesus, and that on the very day of my First Communion. This solitude spent waiting was therefore doubly dear to me. At last the beautiful day between all the days of life dawned for me! What ineffable memories left in my soul the smallest details of those hours of heaven! The joyful awakening of dawn, the respectful and tender kisses of mistresses and great companions, the washroom filled with snowflakes, with which each child saw himself clothed in turn; especially the entrance to the chapel and the singing of the morning hymn: O holy altar that surrounds the angels!
June 7, 1897.
The second pose of three posed photographs taken by Céline in the sacristy courtyard on June 7th, 1897. It was taken 4 days after Thérèse had been asked to complete the last section of A Story of a Soul. Thérèse, who holds the image of the “Holy Face” of Jesus, was in the midst of her 18-month “dark night” of faith. She knew she would die soon and Céline made these photographs intentionally as a “final remembrance” of her 24-year-old sister. After many months of sickness and suffering, Thérèse died on Thursday, September 30, 1897.
Thérèse desired missionary service and ultimately viewed prayer and sacrifice as her missionary vocation.
Circumstances were growing more difficult for Thérèse in terms of her health and spirituality. In 1896 a new prioress of Carmel confirmed Thérèse’s role in the novitiate where she could continue to teach her “little way” and work in the sacristy and the laundry room. In addition to finding it difficult to pray, in April 1896 she began to spit blood, a sure sign of the seriousness of her illness. These last eighteen months of her life proved a dark period for the normally vivacious five-foot three-inch Norman young woman. Her physical pain was often unrelenting and the dreams she had of becoming a foreign missionary to Vietnam had to be abandoned. Yet, the priest in charge of foreign missions, Father Adolphe Roulland (1870–1934) whom Thérèse had met in July 1896 as he was going to China, asked her to be a “spiritual sister” to the mission priests. This charge meant not only to pray for the priests but in her correspondence with them to “console and warn, encourage and praise, answer questions, offer corroboration, and instruct them in the meaning of her little way.”6
In 1896 Father Adolphe Roulland (1870-1934) of the Society of Foreign Missions asked the Carmel of Lisieux for a “spiritual sister.”
In a letter from Thérèse to Fr. Roulland she wrote: “Reverend Father… I feel very unworthy to be associated in a special way with one of the missionaries of our adorable Jesus, but since obedience entrusts me with this sweet task, I am assured my heavenly Spouse will make up for my feeble merits (upon which I in no way rely), and that He will listen to the desires of my soul by rendering fruitful your apostolate. I shall be truly happy to work with you for the salvation of souls. It is for this purpose I became a Carmelite nun; being unable to be an active missionary, I wanted to be one through love and penance just like Saint Teresa, my seraphic Mother….I beg you, Reverend Father, ask for me from Jesus, on the day He deigns for the first time to descend from heaven at your voice, ask Him to set me on fire with His Love so that I may enkindle it in hearts. For a long time I wanted to know an Apostle who would pronounce my name at the holy altar on the day of his first Mass….I wanted to prepare for him the sacred linens and the white host destined to veil the King of heaven…The God of Goodness has willed to realize my dream and to show me once again how pleased He is to grant the desires of souls who love Him alone.”7
Thérèse endured illness, spiritual darkness, and tuberculosis during her final years while continuing to write, pray, and encourage others.
The year 1897 was defined on the one hand by Thérèse’s physical decline because of tuberculosis and, on the other hand, her personal joy expressed in her conversations and poems. It was on the feast day of St. Joseph, March 19, 1897, during a personal novena to St. Francis Xavier (1506-1552), that Thérèse asked St. Joseph to obtain from God the favor of “spending her heaven doing good on earth.” She asked St. Francis Xavier for the same intercession.8
Bartolomé Esteban Murillo (1617-1682), St. Joseph and the Child Jesus, Glasgow.
By April 1897 Thérèse was gravely ill and in May 1897 was relieved of all work duties and community prayer. Thérèse continued to write in her journal but abadoned it, too weak to write. In August 1897 Thérèse’s suffering was so great she confessed to the temptation of suicide. After August 19, 1897 Thérèse was too physically weak to even ingest the consecrated communion wafer. On September 30, 1897, Thérèse died in the convent infirmary. She was 24 years old.
In her last hours Thérèse said: “Oh! It is pure suffering because there are no consolations. No, not one! O my God…Good Blessed Virgin, come to my aid! My God…have pity on me! I can’t take it anymore! I can’t take it anymore!…I am reduced…No, I would never have believed one could suffer so much…never! never!…I no longer believe in death for me…I believe in suffering…O I love Him. My God I love you…”9 These last words of the dying nun were reported by more than one witness.
At the centenary of her death in 1997, St. Pope John Paul II (1920-2005) made Thérèse a “Doctor of the Church,” one of only thirty-three such credentialed. By elevating Thérèse’s example of simple love, the Polish pope, himself called out from behind an Iron Curtain and lived to see it fall, clarified what may constitute a Church Doctor’s character and purpose.
Thérèse died in 1897 at only twenty-four years old after prolonged suffering.
August 30, 1897.
Sick Thérèse one month before her death, August 30, 1897. she promised, “After my death, I will let fall a shower of roses,” which is a sign of her own crucifixion and martyrdom in union with the crucifixion and resurrection of her mystically beloved Jesus Christ. The rose is an expression of the divine love linked to this faith-filled action of oblation that is shared with others in the Holy Spirit who ask for it.
St. Thérèse of Lisieux was beatified on April 29, 1923 and canonized on May 17, 1925. She is co-patron saint of all church missions with St. Francis Xavier and co-patron saint of France with St. Jeanne d’Arc (1412-1431). Thérèse is patron saint of AIDS sufferers, pilots, florists, bodily ills (particularly tuberculosis), and the loss of parents.
Saint Thérèse of Lisieux’s obituary (above) was written by the nuns of her community and printed in Le Normand. In an English translation it reads:“It is with a spirited feeling of sadness that we learned Thursday evening of the death at the Monastery of Our Lady of Mount Carmel of a young person who gave the most beautiful years of youth to a life of prayer and sacrifice. Miss Marie-Francoise-Thérèse Martin, renounced the world at fifteen years of age and consecrated herself to God as Sister Thérèse of the Child Jesus. She departed after ten years of angelic life in the shadow of the cloister, and we have sweet confidence that death which put an end to long and cruel sufferings has come to take this youth in her bloom and already placed on her head the immortal crown, the goal of all our earthly aspirations. The funeral will be celebrated Monday morning at 9 o’clock in the Carmel chapel. Le Normand offers to the family of Sister Thérèse of the Child Jesus and to the Prioress and all the Carmelite sisters the tribute of its respectful condolences.”
Thérèse in death, October 1, 1897.
Thérèse died in the evening of September 30, 1897. The next morning, October 1, 1897, before her body left the infirmary where she died, Céline (Sister Geneviève), deeply impressed by Thérèse’s peaceful countenance in death, took one final photograph of her sister.
Sister Thérèse of the Child Jesus was buried in the Carmelite section at the municipal cemetery at Lisieux on the morning of October 4, 1897 after a funeral Mass at the Carmel. An obscure figure at the time of her death, the funeral procession which followed her body to the cemetery was small that day. It was to this municipal cemetery grave that pilgrims first came. Miracles began to be reported to have taken place at her tomb through her intercession. One notable miracle was that of Reine Fauquet, a four-year-old girl from Lisieux, who was blind. On May 25, 1908, the child was brought by her mother to the tomb of Sister Thérèse of the Child Jesus where the child’s sight was suddenly restored. A medical doctor who was not in favor of making Sister Thérèse of the Child Jesus a saint, signed the medical documents attesting to the cure.10
Because of these events, a tribunal was convened by the bishop of Bayeux in August 1910 to interview witnesses at Lisieux. To investigate the corporeal remains of Sister Thérèse of the Child Jesus for its condition, the body was exhumed on September 6, 1910. The exhumation took place in the presence of the bishop of Bayeux, Thomas-Paul-Henri Lemonnier (1853-1927) and scores of others. The doctors who treated Thérèse before her death confirmed that the body decayed in the usual manner, finding only bones and bits of clothes.
The site of Therese’s first grave from 1897 to 1910 continues to be marked by the same cross. The site of her second grave in the same Carmelite section of the municipal cemetery is also marked. The second grave held her bodily remains in a cemented vault from 1910 until 1923. When Sister Thérèse of the Child Jesus was declared a “servant of God,” the first step on the road to sainthood, there was a second exhumation. It was to the second grave site that large and growing numbers of pilgrims came to implore the Little Flower’s intercessions. The cross that marked the second grave was completely covered by prayers and tributes to Sister Thérèse of the Child Jesus by pilgrims.
Sister Thérèse of the Child Jesus rapidly became the focus of international devotion, with reported miracles associated with her intercession.
Second exhumation of Thérèse of the Child Jesus, August 1917.
On the occasion of her beatification, Sister Thérèse of the Child Jesus’s remains were transferred for a third time on March 26, 1923 to the Carmelite Chapel at Lisieux. Saint Thérèse was canonized on May 17, 1925 by Pope Pius XI (1922-1939) and declared Doctor of the Church by Pope John Paul II (1978-2005) in 1997. Her feast day is October 1.
Reine Fauquet was 4 years old when she visited Thérèse’s grave in Lisieux and her eyesight was cured.
It is recorded that on May 26, 1908, Reine Fauquet who lived in Lisieux was cured of an eye disease following her visit to Thérèse’s grave in Lisieux. The 4-year-old child explained to her sister that she had an apparition of Thérèse: “I saw little Thérèse, right next to my bed, she took my hand, she laughed at me, she was beautiful, she had a veil, and it was all lit around her head” (“J’ai vu la petite Thérèse, là, tout près de mon lit, elle m’a pris la main, elle me riait, elle était belle, elle avait un voile, et c’était tout allumé autour de sa tête“). When Reine Fauquet met Thérèse’s sisters at the Carmel they asked her how Thérèse had been dressed in the vision. The child replied: “The same as you!′′ (“Pareille à vous!“).
Thérèse hand-made costumes for Christmas crèche. National Shrine & Museum of St. Thérèse, Darien. Spring 2018. Author’s photograph.
Using this light-blue dress with lace trim, on the evening of December 25, 1895, Thérèse created a ceremony for her community of sisters that celebrated the birthday of the Christ Child.
During the celebration each sister selected a folded note from a basket and handed it to an “angel” (one of the other sisters). The “angel” opened the note and sang its prayerful verse.
Each sister was then asked to offer to Jesus her best self in the coming year. Thérèse’s ceremony included a crib and wax figure of the infant Jesus for which Thérèse and her novice designed these hand-made costumes.
Sister Thérèse of the Child Jesus was canonized in 1925 and declared a Doctor of the Church in 1997.
Papal decree, August 14, 1921.
The papal decree of August 14, 1921 declaring Thérèse of the Child Jesus a “Venerable” of the Church. It was promulgated by Benedict XV.
Saint Thérèse of Lisieux (1873-1897) was beatified in 1923 and canonized in 1925 by Pope Pius XI (1857-1939). The bishop of Bayeux, Thomas-Paul-Henri Lemonnier (1853-1927) decided to build a large basilica dedicated to her in Lisieux, France. The cornerstone was laid after his death in 1929 by then-bishop of Bayeux-Lisieux, Emmanuel Célestin Suhard (1874-1949), soon to be named cardinal archbishop of Reims, both appointments by Pope Pius XI. The basilica project had the full support of that indomitable Roman pontiff who had placed his pontificate which began in 1922 under the sign of Saint Thérèse of Lisieux. Funded completely by private donations received worldwide, construction started in 1929 and continued unto its dedication in 1954.https://youtu.be/4uCfaHOy4KE?si=LsFactM78MBy8euY – retrieved January 27, 2026.
Basilica of Sainte-Thérèse in Lisieux, France. October 2002. Author’s photograph.
Architecture and Style
The Basilica of Sainte‑Thérèse in Lisieux is built in a Neo‑Byzantine–Romano style closely inspired by the Sacré‑Cœur in Paris. Its exterior is defined by massive towers, intricate arcade arches, and a monumental central dome that dominates the surrounding hillside.
Pilgrimage Significance
Drawing roughly 2 million visitors and pilgrims each year, it is the second most important pilgrimage destination in France after Lourdes. Though St. Thérèse of Lisieux is not buried here—her primary tomb is at the nearby Carmel of Lisieux where she lived—one of her arm bones, a major relic, is permanently enshrined in a reliquary in the basilica’s south transept.
Family Legacy
The basilica also houses the tombs of Saints Louis and Zélie Martin, Thérèse’s parents, who are buried in the crypt, making the site a central locus of devotion for pilgrims honoring the Martin family.
Completed and released in 2001, Thérèse de Lisieux, une course de géant (translated as “Thérèse of Lisieux, a giant’s race”) is a 35-minute documentary directed by Fabrice Maze and produced by Seven Doc. For decades, this film has served as the official introduction for visitors, screening on a continuous loop in the auditorium at the Centre d’Accueil Pastoral International Saint Jean-Paul II—the international visitor center located directly across from the Basilica. The title is inspired by a phrase describing St. Thérèse’s rapid spiritual journey, and the documentary beautifully traces her childhood, her life inside the Carmel convent, and her vast global legacy. Filmed entirely on-site in Lisieux and inside the Basilica throughout 2001, this video serves as a brief trailer for the feature.
Stained glass.
ENDNOTES:
St. Thérèse of Lisieux: her last conversations, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1977, pp. 18-19. Her complete obituary printed in Le Normand reads: “It is with a spirited feeling of sadness that we learned Thursday evening of the death at the Monastery of Our Lady of Mount Carmel of a young person who gave the most beautiful years of youth to a life of prayer and sacrifice. Miss Marie-Francoise-Thérèse Martin, renounced the world at fifteen years of age and consecrated herself to God as Sister Thérèse of the Child Jesus. She departed after ten years of angelic life in the shadow of the cloister, and we have sweet confidence that death which put an end to long and cruel sufferings has come to take this youth in her bloom and already placed on her head the immortal crown, the goal of all our earthly aspirations. The funeral will be celebrated Monday morning at 9 o’clock in the Carmel chapel. Le Normand offers to the family of Sister Thérèse of the Child Jesus and to the Prioress and all the Carmelite sisters the tribute of its respectful condolences.”
see Story of a Soul: the Autobiography of St. Thérèse of Lisieux, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1996, pp. 51-67.
The Hidden Face: A Study of St. Thérèse of Lisieux, Ida Friederike Görres, London, 2003, p. 83.
Letter from Thérèse to Father Roulland, LT 226, dated May 9, 1897, Letters of St. Thérèse of Lisieux, Volume II, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1974, p. 1094.
Story of a Soul, p. 196. For this paragraph’s chronology see Letters of St. Thérèse of Lisieux, Volume II, 1297-1329.
Görres, p.189.
Letter from Thérèse to Father Roulland, LT 189, dated June 23, 1896, Letters of St. Thérèse of Lisieux, Volume II, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1974, pp. 956-957.
see footnote 11 in Letters of St. Thérèse of Lisieux, Volume II, p. 1074.
Last conversations, pp. 204-205; 230; 243.
Thérèse and Lisieux, Pierre Descouvement and Helmut-Nils Loose, Toronto: Novalis, 1996, p. 316.
BIBLIOGRAPHY:
Story of a Soul: the Autobiography of St. Thérèse of Lisieux, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1996;
Light of the Night: The Last Eighteen Months in the Life of Thérèse of Lisieux, Jean-François Six, University of Notre Dame Press, South Bend, Indiana, 1996;
St. Thérèse of Lisieux: her last conversations, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1977;
Letters of St. Thérèse of Lisieux,Volumes I and II, translated by John Clarke O.C.D., ICS Publications, Institute of Carmelite Studies, Washington, D.C., 1974;
The Hidden Face: A Study of St. Thérèse of Lisieux, Ida Friederike Görres, London, 2003;