About This Artwork

Claude Monet
French, 1840-1926

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

This work is featured in the online catalogue Monet Paintings and Drawings at the Art Institute of Chicago, the first volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 47 artworks by Claude Monet in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.



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

Exhibition, Publication and Ownership Histories

Exhibition History

University of Chicago, Classics Building, The Quarter-Centennial Celebration of the University of Chicago, Paintings of the French Impressionist School, June 21–Sept. 1, 1916, no cat.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 294.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 212.

Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 102 (ill.).

Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 63 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Nagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20–May 29, 1994, cat. 19 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 85 (ill.).

Publication History

M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), pp. 20 (ill.), 21.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 43, cat. 294.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 37, cat. 212.

Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 287.

Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.

William C. Seitz, Claude Monet, Library of Great Painters (Abrams, 1960), p. 40, fig. 52.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 321.

Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), p. 36.

Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p.159, cat. 102 (ill.).

A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 58, cat. 3A9; microfiche 3, no. 3A9 (ill.).

Grace Seiberling, Monet’s Series (Garland, 1981), p. 370, no. 3.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], exh. cat. (Nippon Television Network, 1985), pp. 124, cat. 63 (ill.); 125 (detail); 160–61 (ill.).

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 160; 161, cat. 1527 (ill.); 431, pièce justificative 275.

Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 91, 93 (ill.), 118.

Grace Seiberling, Monet in London, exh. cat. (High Museum of Art/University of Washington Press, 1988), pp. 49; 78, fig. 59.

Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), pp. 80–81, cat. 19 (ill.).

Eric Shanes, Impressionist London (Abbeville, 1994), pp. 125, pl. 101; 127.

Charles F. Stuckey, “Chicago’s Fortune: Patrons of Modern Paintings and The Art Institute of Chicago,” in Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), p. 18.

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 56; 57; 65; 100, pl. 29; 109.

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 3, Nos. 969–1595 (Taschen/Wildenstein Institute, 1996), pp. 655–56, cat. 1527 (ill.).

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 157 (ill.).

Ann Sumner, with contributions by Louisa Briggs and Julia Carver, Colour and Light: Fifty Impressionist and Post-Impressionist Works at the National Museum of Wales (National Museum of Wales, 2005), pp. 20 (ill.), 90 (ill.), 91.

John E. Thornes and Gemma Metherell, “The Art and Science of London’s Atmosphere around 1900,” in London’s Environment: Prospects for a Sustainable City, ed. Julian Hunt (Imperial College Press, 2005), p. 119.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 166–67, cat. 85 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 166–67, cat. 85 (ill.).

“Cat. 40: Charing Cross Bridge, London, 1901” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Sold by the artist to Durand-Ruel, Paris, Oct. 30, 1905, for 8,000 francs. [1]

Sold by Durand-Ruel, Paris, to Adrien Hébrard, as agent for the Prince de Wagram (Alexandre Berthier, 4th Prince de Wagram), Paris, Dec. 20, 1905, for 15,000 francs. [2]

Sold by the Prince de Wagram (Alexandre Berthier, 4th Prince de Wagram), Paris, to Durand-Ruel, Paris, Apr. 4, 1914, for 15,000 francs. [3]

Sold by Durand-Ruel, Paris, to Durand-Ruel, New York, Nov. 11 or Dec. 9, 1915. [4]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Feb. 23, 1916, for a painting by Pierre-Auguste Renoir [Pivoines, no. 3094], plus $1,000. [5]

Bequeathed by Martin A. Ryerson (died 1932), Chicago, to the Art Institute of Chicago, 1933.

NOTES

[1] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 8018, as Londres, Charing Cross Bridge, soleil couchant, 1901): “Purchased from Monet by DR Paris on 30 October 1905 for 8 000 F / Stock DR Paris no. 8018; Photo no 5380,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[2] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 8018, as Londres, Charing Cross Bridge, soleil couchant, 1901): “Sold to Hébrard on 20 December 1905 for 15 000 F [The journalist and art critic Adrien Hébrard worked also as an agent for Alexandre Berthier, Prince de Wagram],” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[3] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1913–21 (no. 10528, as Londres, Charing Cross Bridge, soleil couchant, 1901): “Purchased by DR Paris from the Prince de Wagram on 4 April 1914 for 15 000 F / Stock Paris no. 10528; Photo no. 7846,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[4] The Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book for 1913–21 gives November 11, 1915, as the date (no. 10528, as Londres, Charing Cross Bridge, soleil couchant, 1901): “Sold to DR New York on 11 November 1915.” In the New York stock book for 1904–24 the date given is December 9 (no. 3898, as Londres, Charing Cross Bridge, soleil couchant, 1901) : “Purchased by DR New York on 9 December 1915.” As confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[5] A purchase receipt on Durand-Ruel letterhead, dated February 23, 1916, details that this painting (no. 3898, Claude Monet, Charing Cross Bridge, 1901, Soleil couchant) was acquired by M. A. Ryerson, in exchange for a painting by Renoir (no. 3094, Pierre-Auguste Renoir, Pivoines) in addition to a cash payment of $1,000. Photocopy in curatorial object file, Art Institute of Chicago. This transaction is also recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 3898, as Londres, Charing Cross Bridge, soleil couchant, 1901): “Sold to M. A. Ryerson on 23 February 1916 for $ 7 800,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago. This transaction is also mentioned in a letter from G. Durand-Ruel to M. A. Ryerson, dated February 23, 1916, which is excerpted in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), p. 431, pièce justificative 275. The painting was on loan from Mr. Ryerson to the Art Institute of Chicago, intermittently, by 1921, according to Museum Registration department artists sheets, on file in Museum Registration, Art Institute of Chicago.




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