Impressionist master Claude Monet began over forty versions of Waterloo Bridge during his three London sojourns between 1899 and 1901. He viewed his paintings of the landmark bridge both individually and as an ensemble, collectively expressing his sense of the essential subject—the atmosphere and colors of the fog-bound landscape of London’s Thames River. Monet struggled to complete these paintings after his return to France, where he re-worked many of the canvases in his Giverny studio, releasing them for sale over the course of several years. The exhibition Monet’s Waterloo Bridge: Vision and Process brings together eight paintings from the famous London series. Scholarly essays and an in-depth technical study of the Memorial Art Gallery’s Waterloo Bridge, Veiled Sun (1903) explore Monet’s artistic vision as well as the process by which he struggled to achieve that vision.
Publisher: RIT Press and Memorial Art Gallery (09/2018)
Size: 10 x 9 in.
Shipping Weight: 1lb
Table of Contents
Jonathan P. Binstock
Monet’s Waterloo Bridge: Vision and Process
Between the Balcony and the Studio: Monet’s Struggle to Finish the Thames Series
Jennifer A. Thompson
Looking at Waterloo Bridge
Technical Analysis of the Painting Waterloo Bridge, Veiled Sun, 1903, by Claude Monet
James Hamm, Jiuan Jiuan Chen, Aaron Shugar, Rebecca Ploeger, and Kathryn Harada
Paintings in the Exhibition
Board of Managers of the Memorial Art Gallery