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CLAUDE MONET (1840-1926) Waterloo Bridge oil on canvas 65 x 81 cm (255/8 x 317/8 in.) painted ca...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:600,000.00 - 800,000.00 USD
CLAUDE MONET (1840-1926) Waterloo Bridge oil on canvas 65 x 81 cm (255/8 x 317/8 in.) painted ca...

CLAUDE MONET

(1840-1926)

Waterloo Bridge

oil on canvas

65 x 81 cm (25 5⁄8 x 31 7⁄8 in.)

painted ca. 1899-1901

Estimate: £420,000–550,000

$600,000–800,000




Provenance

Michel Monet, Giverny

Acquired from the above by the father of the present owner in 1952




Exhibited

Winterthur, Kunstmuseum, Das gloriose Jahrzehnt, französische Kunst, 1910-1920 aus
Winterthurer Besitz, January 22-April 1, 1991, no. 72 (illustrated; dated ca. 1900-1910)




Literature

Daniel Wildenstein, Claude Monet, Biographie et Catalogue raisonné, Lausanne, 1985, vol. IV, p. 178, no. 1579 (illustrated, p. 179)

Daniel Wildenstein, Claude Monet, Catalogue raisonné, Cologne, 1996, vol. III, p. 690, no. 1579 (illustrated, p. 689)


<p>Monet had considered painting a series of views of the River Thames from as early as 1880. The appearance of the river, especially when shrouded in the distinctive fogs that were endemic to London during that time, was particularly suited to his poetic vision of landscape. London was, to him, of special significance, not least because he associated the city with Turner, his great precursor as a painter of light and mood. However, it was only in 1899 that he embarked on the London series in earnest. During repeated visits to the city over the following five years he produced no fewer than 95 canvases.
George Shackleford and Mary Anne Stevens have considered that “The choice of London was certainly in part inspired by the extraordinary light effects that the city offered during the winter months, when sunshine was diffused through a dense atmosphere of mist mingled with coal smoke from domestic fires and industrial furnaces. These had informed the work of J.M.W. Turner and James McNeill Whistler’s views of Battersea and Chelsea made in the 1860s and 1870s. Turner’s compositional solutions were also echoed by Monet in the strong vertical counterbalance of the sun and its reflections…Whistler’s insistence upon a dominant tonality permeates many of the series” (George Shackleford and Mary Anne Stevens, Monet in the 20th Century, exh. cat., Royal Academy of Arts, London, 1999, p. 128).