Le Parlement, Symphonie en rose (1900)

Monet, Claude (1840-1926) Le Parlement, Symphonie en rose (The Parliament, Symphony in Rose) 1900 Oil on canvas, 82 x 92.6 cm Pola Museum of Art, Hakone See also: • Palace of Westminster (London)

Cathédrale de Rouen, soleil couchant (1892-1894)

Monet, Claude (1840-1926) Cathédrale de Rouen, soleil couchant (Rouen Cathedral, setting sun; symphony in grey and black) 1892–1894 Oil on canvas, 100 x 65 cm National Museum Wales, Cardiff Working from the window of a milliner’s shop overlooking its facade, Monet…

Femme accoudée (1882)

Renoir, Pierre-Auguste (1841-1919) Femme accoudée (Woman leaning) 1882 Oil on canvas, 61 x 50.5 cm Private collection See also: • Demarsy, Jeanne (1865-1937)

Charing Cross Bridge (1902)

Monet, Claude (1840-1926) Charing Cross Bridge 1902 Oil on canvas, 65.4 x 81.3 cm National Museum Wales, Cardiff Monet‘s Thames series was begun in the autumn of 1899 and the winter of 1900–01, from a fifth floor balcony of the Savoy…

Le Bassin de Londres (1871)

Monet, Claude (1840-1926) Le Bassin de Londres (The Pool of London) 1871 Oil on canvas, 48.5 x 74.5 cm National Museum Wales, Cardiff Monet came to London in 1871 as a refugee from the Franco-Prussian war. This view of the Thames…

San Giorgio Maggiore, crépuscule (1908)

Monet, Claude (1840-1926) San Giorgio Maggiore, crépuscule (San Giorgio Maggiore, Twilight) 1908 Oil on canvas, 65.2 x 92.4 cm National Museum Wales, Cardiff A view of the monastery island of San Giorgio, painted from the south-eastern end of Venice. On the right…

San Giorgio Maggiore (1908)

Monet, Claude (1840-1926) San Giorgio Maggiore 1908 Oil on canvas, 59.2 x 81.2 cm National Museum Wales, Cardiff Between October and December 1908, Monet and his wife Alice visited Venice, where they stayed on the Grand Canal. This composition depicts the…

La famille paysanne (1871-1872)

Millet, Jean-François (1814-1875) La famille paysanne (The peasant family) 1871–1872 Oil on canvas, 110.4 x 81 cm National Museum Wales, Cardiff The British painter Sickert commented: ‘The sublime man and his stolid spouse face the spectator with all the gravity and symmetry…