Philadelphia Museum of Art, 1950 , cat. Dayton Art Institute, 1949 , cat. Painted from the backyard of a friend's house on the nearby rue de Rome, this canvas, now in the at Washington D. The Gare Saint-Lazare is seen in the 1995 film with and. From there followed a series of paintings with different viewpoints including views of the vast hall. Translated by John Brownjohn as Claude Monet, exh. Art Institute of Chicago, 1975 , pp.
The Gare Saint-Lazare is mentioned or plays a role in 's and 's Terminus St-Lazare. Artists such as , and , do this in order to accurately portray the scene in the moment instead of creating the painting from what they could remember. In the 1870s Monet—along with most of the other major Impressionists including, Caillebotte, Pissarro, Renoir, Degas, Guillaumin, Raffaëlli, and even Manet—had shown a steady interest in the railroad as a subject within their paintings of modern of life. On 27 April 1924 the inner suburban lines were electrified with 750. Though scholars have frequently discussed the works, and particularly the four interiors, as part of series, only two of the works show a repeated or serial view. He completed 11 paintings of this subject.
In spite of the impressionist style, the work reproduces accurately the topography of the area, even allowing one to deduce the precise point where the artist was standing while painting. Translated Karen Williams Claude Monet, 1840—1926: A Feast for the Eyes Taschen, 2004 , p. In The Gare Saint-Lazare, the Auteuil Line Monet shows his keen interest in light, color, and paint handling, yet The Gare Saint-Lazare, the Auteuil Line cannot be divorced from its subject—the locomotives, the steam, and the yard of the Gare Saint-Lazare. Massachusetts Institute of Technology, 1950 , ill. The painting is very similar to other works she did.
I will put the painting on the artworks page of my web site. She also studied with California painter Millard Sheets during a summer at the University of Hawaii. Edelstein, entries written and compiled by Sally Ruth May Art Institute of Chicago, 1993 , p. Gloria Groom and Jill Shaw Art Institute of Chicago, 2014. The flat, opaque circle of the largest signal, placed dead center and thickly painted, is so insistent that it turns the picture into a near-abstraction. Asahi Shinbunsha, 1994 , pp. It is the last scene in Paris where Kevin Kline's character is being chased by Police Inspector Jean-Paul Cardon while trying to board a train south to which is an inaccuracy since the Gare Saint-Lazare serves the North-West of France; trains for Cannes depart from the.
The Gare Saint-Lazare piece was shown at the Third Impressionist Exhibition. These common subjects—train, steam, and industrial activity—raise the question of whether the works should be regarded as series. Asahi Shinbunsha, 1994 , p. Lewis May as Claude Monet Dodd, Mead, 1924 , pp. Four paintings in the set of twelve, including The Gare Saint-Lazare, the Auteuil Line, show the large and distinctive cast iron spans that covered the platforms.
Minneapolis Institute of Arts, 1969 , pp. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. Gare Montparnasse The Melancholy of Departure Artist Year 1914 Medium Dimensions 140 cm × 184. The Gare Saint-Lazare series of paintings lead the viewers through a tour of the train station in different points of the day. While the former picture looks across the bridge with the ironworks diagonally crossing the picture to the right, with a scene of partially interacting figures on the bridge to the left, the latter depicts the iron structure of the bridge face-on in a strong close-up of its industrial geometry, with three male figures to the left side of the painting all looking in different directions the Pont de l'Europe is a massive bridge spanning the railyard of the newly expanded station, which at that time had an iron-work trellis. Feist, Malerei des Impressionismus, 1860—1920: Der Impressionismus in Frankreich, vol. Los Angeles County Museum of Art, 1984 , pp.
Pike, Metropolis on the Styx: The Underworlds of Modern Urban Culture, 1800—2001 Cornell University Press, 2007 , pp. Claude Monet, The Gare Saint-Lazare: Arrival of a Train, 1877, oil on canvas, 83 x 101. The station had 14 platforms in 1854 after several enlargements, and now has 27 platforms sorted in six destination groups. Fine Arts Museums of San Francisco, 1986 , pp. Oscar-Claude Monet's series of the Gare Saint-Lazare train station was one of his most famous series in his lifetime.
Khudozhnik i Kniga, 2001 , pp. Their paintings abound with scenes of grand boulevards and elegant, new blocks of buildings, as well as achievements of modern construction such as iron bridges, exhibition halls, and train sheds. Giunti Gruppo, 1999 , pp. Chemical Heritage Foundation, 2000 , pp. But the series also represented his last attempt to deal with urban realities: from this point on in his career, Monet would be largely a painter of landscapes. Jahrhunderts: Von David bis Cézanne, with a preface by Germain Bazin, exh. When taken as a whole the group does not seem to be the manifestation of an interest in serial painting or an exploration of subtle changes only evident in repeated views as Monet will later do with his series of grain stacks bur rather as an effort to capture the varied aspects of the station by rendering its many faces in paint.
Réunion des Musées Nationaux, 1985 , pp. Los Angeles County Museum of Art, 1984 , p. Shackelford, Monet and the Impressionists, exh. This painting was on loan from Martin A. Wood, commentaries by Debra N. In this bright scene Monet gives us a new vision of modern life that does not shy away from its industrial side.