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first and then transferred some of the drawing features onto the under layers of the paintings. Conservator Kirk
Vuillemot studied the version from Art Institute of Chicago and found that the painting consisted of two layers and was built up from a broadly applied lay-in. Monet developed the main compositional elements
217:“ was doggedly painting the departing locomotives. He wanted to show how they looked as they moved through the hot air that shimmered around them. Though the station workers were in his way, he sat there patiently, like a hunter, brush at the ready, waiting for the minute when he could put paint to canvas."
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in the nineteenth century, presenting a busy train station in different times of a day. Monet finished the Gare Saint-Lazare series in the first half of 1877 and exhibited seven of the twelve paintings at the Third
Impressionist Exhibition in the same year. Today, the Gare Saint-Lazare paintings are
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Similar to most contemporary artists, Monet did not paint entirely in the station: all of the paintings were finished in his studio. Due to the handful of preliminary sketches Monet did for this series, we can surmise that he did not have an abundant window of time at the station. Monet sketched
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Scholars have also proposed that Monet portrayed how time itself was being modernized and industrialized. Industrialization required to the unification and coordination of time, and this unification could be clearly seen at the synchronized train-schedules and precisely timed operations done by
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Scholars have generally seen the Gare Saint-Lazare series as Monet's attempt to depict the industrial age from his perspective. Trains, steam, and smoke convey the concepts of mobility and speed. The vaporized forms are consistent with
Impressionism's credo that matter should appear to be in a
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waiting patiently before setting off. Despite the different compositions, all of the works show the station filled with thick clouds of steam and the pungent plumes of smoke from the burning coal. The smoke obscured objects in the distance, dissolving forms through suffused light. Monet mixed
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Despite the harsh conditions, Monet still successfully depicted temporal factors like trains and passengers speeding by. Train signals announce departures and arrivals; switchmen are scattered around, timing everyone's actions; and the smoke and steam imply the movement of heavy machine.
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after the under layers had dried. He created a varied surface texture by juxtaposing multifarious brushstrokes. Vuillemot described the resulting effect as “smooth, fluid paint and low impasto, and lightly dragged and dry-brush strokes that skip across the surface of the painting.”
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said: “The artist wanted to demonstrate step by step the impression of a train during departure, the impression of a train about to depart, and he has tried, ultimately, to give us the disagreeable impression that results when several locomotives whistle at the same time.”
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constant state of motion. Coinciding with
Impressionists’ preoccupation with instantaneous and atmospheric change is the ever changing shape and rapid dissipation of steam, a substance that embodies these characteristics in a way that nothing else can. As the critic
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Each of the twelve paintings did not maintain a consistent point of view. Monet shifted position in almost every painting: some were set inside the massive glass shed, some were out, and some were painted underneath the
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Painting on site, Monet had to deal with the incoming and outgoing trains and crowds of passengers. When he sketched and started painting, his view must have been blocked by steam and smoke. In 1889, critic
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Monet started this series in early
January 1877 and exhibited seven of the pictures at the Third Impressionist Exhibition in same year on April 5. He finished twelve paintings in roughly four months.
96:. The paintings depict the smoky interior of this railway station in varied atmospheric conditions and from various points of view. The series contains twelve paintings, all created in 1877 in
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Some of his paintings depicted the speeding and unstoppable trains rushing towards the end of the track, while others showed the massive
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in Paris, which opened in 1837. During the 1850s and 1860s, the station had expanded at an exponential rate due to industrialization
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L'histoire par l'image : Le chemin de fer, symbole d'une nouvelle révolution industrielle - Claude Monet, La gare Saint-Lazare
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different degrees of sharp and blurry brush strokes and the steam left by passing trains to create this sense of fleetingness.
876:(exh. cat. ed.). Kansas City and Liverpool: Nelson-Atkins Museum of Art and National Museums Liverpool. pp. 159–161.
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987:"Claude Monet, Arrival of the Normandy Train, Gare Saint-Lazare, 1877"
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923:(repr ed.). London: Thames and Hudson, Ltd. pp. 210–211.
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recalled Monet's working process in the Gare Saint-Lazare:
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once wrote: “The poetry of the nineteenth century is steam.”
804:(exh. cat. ed.). Munich: Prestel. pp. 193, 195–196.
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Paintings and Drawings at the Art Institute of Chicago
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to paint from the station concourse and beside the track.
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and it attracted contemporary painters including Monet,
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scattered in institutions all over the world, including
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908:. Chicago: Art Institute of Chicago. pp. Cat.16.
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Extérieur de la gare Saint-Lazare, arrivée d'un train
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Fondation Monet – Giverny home, studio, and gardens
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1543:The Doge's Palace Seen from San Giorgio Maggiore
1407:Arrival of the Normandy Train, Gare Saint-Lazare
1184:The Road in Front of Saint-Simeon Farm in Winter
891:. New Haven: Yale University Press. p. 126.
1375:Woman with a Parasol – Madame Monet and Her Son
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599:Les Voies Ă la sortie de la gare Saint-Lazare
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872:Kennedy, Ian; Treuherz, Julian (2008).
192:Compagnie des Chemins de fer de l'Ouest
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1864:Claude Monet Painting in his Studio
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902:Vuillemot, Kirk (2014).
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1115:Le DĂ©jeuner sur l'herbe
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1495:Study of Rocks; Creuse
1216:Interior, after Dinner
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800:Krämer, Felix (2014).
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1823:Musée Marmottan Monet
1479:Haystack Near Giverny
1455:Stormy Sea at Étretat
1431:Portrait of Père Paul
1367:The Train in the Snow
1311:The Seine at Asnières
1303:Lilac Bush in the Sun
1264:Regatta at Argenteuil
512:Musée Marmottan Monet
243:La Gare Saint-Lazare,
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1767:Theodore Earl Butler
1705:San Giorgio Maggiore
1681:Houses of Parliament
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1248:Windmill at Zaandam
1200:L'Enfant a la tasse
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108:Impressionist
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62:Oil on canvas
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1749:Michel Monet
1733:(first wife)
1713:Water Lilies
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1592:Water Lilies
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1399:La Japonaise
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1224:The Red Cape
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1080:Claude Monet
1017:. Retrieved
1013:the original
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94:Claude Monet
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45:Claude Monet
33:
1716:(1897–1926)
1708:(1908–1912)
1684:(1900–1905)
1676:(1900–1904)
1668:(1899–1904)
1652:(1892–1894)
1567: 1914
1272: 1872
285:Jules Janin
271:Baron Grimm
245:1877, Paris
233:Description
213:1877, Paris
176:Caillebotte
1926:Categories
1832:Portrayals
1743:Jean Monet
1279:Springtime
1208:The Magpie
1019:2019-08-25
971:. Harvard/
783:References
259:locomotive
223:wet-on-wet
164:terminuses
147:Background
67:Dimensions
1781:(teacher)
1775:(teacher)
1636:(1890–91)
1633:Haystacks
1227:(1868–73)
1219:(1868-69)
1098:Paintings
854:219796908
398:Cambridge
293:switchmen
1793:(dealer)
1787:(patron)
1039:Archived
771:See also
719:Hannover
326:Country
186:Creation
75:Location
1899:Related
1801:Museums
1641:Poplars
1136:Camille
724:Germany
439:Chicago
320:Museum
306:Illus.
1859:(1873)
1724:People
1700:(1908)
1692:(1908)
1660:(1895)
1644:(1891)
1626:Moscow
1614:(1877)
1603:Series
1595:(1919)
1587:(1919)
1577:(1918)
1569:–1917)
1554:(1908)
1546:(1908)
1538:(1908)
1530:(1900)
1522:(1890)
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1506:(1889)
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1187:(1867)
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1171:(1867)
1163:(1867)
1155:(1866)
1147:(1866)
1139:(1866)
1131:(1865)
1121:Moscow
1117:(Paris
1110:(1858)
933:1996,
852:
618:Hakone
522:France
478:London
364:France
309:Title
174:, and
59:Medium
41:Artist
1751:(son)
1745:(son)
850:S2CID
763:Italy
744:W449
705:W448
674:W447
643:W446
623:Japan
604:W445
573:W444
542:W443
517:Paris
503:W442
464:W441
425:W440
384:W439
359:Paris
345:W438
323:City
317:(in)
172:Manet
106:This
98:Paris
758:Rome
299:List
54:1877
51:Year
842:doi
838:102
1928::
1624:/
1564:c.
1269:c.
1119:/
1007:.
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953:.
937:,
862:^
848:.
836:.
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810:^
790:^
483:UK
312:#
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1267:(
1071:e
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957:.
844::
168:,
101:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
