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About This Artwork
Charing Cross Bridge, London, 1901
Oil on canvas
65 x 92.2 cm (25 5/8 x 36 5/16 in.)
Inscribed lower right: Claude Monet 1901
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1150
Wildenstein, Claude Monet, cat rais. 1996 1527; Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1527
As part of an effort to shape the future of scholarly publishing, the Getty Foundation in 2009 invited the Art Institute of Chicago and eight other museums to participate in a venture called the Online Scholarly Catalogue Initiative (OSCI). The Art Institute is pleased to present the first catalogue produced from this venture: Monet: Paintings and Drawings at the Art Institute of Chicago, which includes this work. Entries on the museum's 47 artworks by Monet include high-resolution imaging, in-depth curatorial essays, and conservation reports.
Beginning in September 1899, Claude Monet made almost one hundred paintings of the river Thames in London. These works show only three different views—Charing Cross Bridge and Waterloo Bridge, both painted from the Savoy Hotel; and the Houses of Parliament, painted from Saint Thomas’s Hospital. In the smoggy, industrial city, Monet challenged himself to capture effects of light seen through a dense atmospheric screen. Beyond the rectilinear skeleton of Charing Cross Bridge—reminiscent of bridges in Japanese prints, which the artist collected—rises the ghostlike silhouette of the Houses of Parliament.
— Permanent collection label
University of Chicago, Exhibition, July 1916.
Chicago, Art Institute, Catalogue of A Century of Progress Exhibition of Paintings and Sculpture, Lent from American Collections, June 1-November 1, 1933, cat. 294.
Chicago, Art Institute, Catalogue of A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1934, p. 37 cat. 212 as Charing Cross, London, 1901.
Chicago, Art Institute, Homage to Claude Monet, 1957, no cat.
The Art Institute of Chicago, Claude Monet, 1975, cat. 102, as Charing Cross Bridge, London, 1901.
Tokyo, Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago,” October 18-December 17, 1985, pp. 124, 160-161, cat. 63 as Charing Cross Bridge, London, 1901; traveled to Fukuoka, Art Museum, January 5-February 2, 1986; Kyoto, Municipal Museum of Art, March 4-April 13, 1986.
Tokyo, ASAHI Shimbu, Masterworks of Modern Art from The Art Institute of Chicago, traveled to Nagaoka, Niigata Prefectural Museum of Modern Art, April-May 1994; Nagoya , Aichi Prefectural Museum of Art, June-July 1994; and Yokohama Museum of Art, August -September, 1994.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 85 (ill.).
M.C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19 (February 1925), pp. 20, 21 (ill.).
O. Reuterwärd, 1948, p. 287.
W.C. Seitz, 1960, p. 40 (ill.).
Art Institute, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 312 as Charing Cross Bridge, London, 1901.
Grace Seiberling, Monet’s Series, PhD diss. (Yale University, New Haven, 1981), p. 370 cat. 3.
Daniel Wildenstein, Biographie et Catalogue Raisonné, vol. 4 (Paris, 1985), pp. 160, 161 (ill.), 431 [P.J. n. 275] cat. 1527.
Richard R. Brettell, Post-Impressionists (New York, 1987), pp. 91, 93, 118 (ill.) as Charing Cross Bridge, London, 1901.
Grace Seiberling, Monet in London, exh. cat. (Atlanta, 1989), p. 78 (fig. 59).
Eric Shanes, Impressionist’s London (1993).
Architecture of the Imagination (Third Eye Productions Ltd. and BBC TV, 1993).
Andrew Forge, Monet (Chicago, 1995), pp. 55-60, 100, 109 cat. 29 (ill.) as Charing Cross Bridge, London, 1901.
Daniel Wildenstein, Monet: Catalogue Rasionné (Paris, 1996), pp. 655-656 cat. 1527 (ill.) as Charing Cross Bridge, 1901.
James N. Wood, Impressionism and Post-Impressionism in the Art Institute of Chicago (Chicago, 2000), p. 157 (ill.) as Charing Cross Bridge, London, 1901.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 85, pp. 166-67 (ill.).
Bought from the artist by Durand-Ruel in October 1905 [this and the follwing information acc. to Wildenstein] and sold to A.A. Hébrard in the same year, who was acting for the Prince of Wagram, Paris. Durand-Ruel, 1914; sold to Mr. and Mrs. Martin A. Ryerson (died 1932), Chicago, February 1916 [see letter from G. Durand-Ruel to M. A. Ryerson, dated February 23, 1916; the painting was exchanged for Renoir’s Pivoines and $1000; see also Durand-Ruel New York stock no. 3898: “Londres, Charring Cross bridge, soleil couchant, en échange”]; bequeathed to the Art Institute, 1933.