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About This Artwork
Arrival of the Normandy Train, Gare Saint-Lazare, 1877
Oil on canvas
60.3 x 80.2 cm (23 3/4 x 31 1/2 in.)
Inscribed, lower left: Claude Monet 77
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1158
Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 440
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.
The Gare Saint-Lazare was the largest and busiest train station in Paris. Early in 1877, with help from his friend Gustave Caillebotte, Claude Monet rented an apartment in the nearby rue Moncey and began the first of 12 canvases showing this icon of modernity. He displayed seven of them, including this one, at the third Impressionist exhibition, in April of that year. Legend has it that he arranged to have the standing locomotives stoked with extra coal so that he could observe and paint the effects of belching steam—dull gray when trapped inside the station, white and cloudlike when seen against the sky.
— Permanent collection label
Paris, 3e exposition de peintures, April 1877, cat. 97.
Paris, Georges Petit, 6e exposition internationale de peinture et de sculpture, May 8–June 8, 1887.
Paris, Georges Petit, Monet-Renoir, 1889, cat. 33.
Paris, Exposition universelle, Exposition centennale de l’art français, 1900, cat. 484.
The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 299.
The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 219.
Boston, Museum of Fine Arts, Independent Painters of Nineteenth Century Paris, March 15–April 28, 1935, cat. 32.
Vienna, Meisterwerke europäisher Malerei in America, 1935, cat 289 (ill.).
Dayton, Ohio, Art Institute, The Railroad in Painting, April–May, 1949; traveled to New York, World’s Fair, May–October, 1940, cat. 50 (ill.).
Cambridge, Massachusetts Institute of Technology, The Painter and the City, May 8–June 15, 1950.
Philadelphia, Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, November 4, 1950–February 11, 1951, cat. 70 (ill.).
Paris, Musée de l’Orangerie, De David à Toulouse-Lautrec: Chefs d’Oeuvres des Collections Americains, April 20–July 31, 1955, cat. 42 (ill.).
Munich, Haus der Kunst, Französische Malerei de 19. Jahrhunderts: Von David bis Cézanne, October7, 1964–January 6, 1965, cat. 191 (ill.).
Minneapolis Institute of Arts, French Nineteenth Century Painting, July 1–September 7, 1969, cat. 60.
New York, Wildenstein & Co., One Hundred Years of Impressionism–Tribute to Durand-Ruel, April 2–May 9, 1970, cat. 37 (ill.).
The Art Institute of Chicago, Paintings by Monet, March 15–May 11, 1975, cat. 42.
The Art Institute of Chicago, Art and the Time of the Centennial, June 19–August 8, 1976, no cat.
Washington D.C., National Gallery of Art, Manet and Modern Paris, December 5, 1982–March 6, 1983, cat. 14 (ill.).
Los Angeles, County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–September 16, 1984, cat. 32 (ill.), traveled to The Art Institute of Chicago, October 18, 1984–January 6, 1985 and Paris, Galeries nationals du Grand Palais, February 8–April 22, 1985.
Auckland City Art Gallery, Claude Monet Painter of Light, 1985, no cat. no., fig. 7.
Washington D.C., National Gallery of Art, The New Painting: Impressionism 1874–1886, January 17–April 6, 1986, cat. 51 (ill.); traveled to Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, April 19–July 6, 1986.
Paris, Les Années Post Impressionistes, 1986, cat. 15 (ill.).
The Art Institute of Chicago, Chicago’s Dream, A World’s Treasure: The Art Institute of Chicago 1893–1993, November 1, 1993–January 1, 1994, no cat. no.
Tokyo, ASAHI Shimbun, Masterpieces of Modern Western Art from the Art Institute of Chicago, 1994, cat. 7 (ill.), traveled to Nagaoka, Niigata Prefectural Museum; Nagoya, Aichi Prefectural Museum; and Yokohama Museum of Art, 1994.
The Art Institute of Chicago, Claude Monet, 1840–1926, July 22–November 26, 1995, cat. 50 (ill.).
Vienna, Österreichische Galerie, Claude Monet, March 14, 1996-June 16, 1996, cat. 24 (ill.).
Ordrupgaard, Copenhagen, Impressionists in Town, September 6–December 1, 1996, cat. 44 (ill.).
Paris, Musée d’Orsay, Manet, Monet and Gare Saint-Lazare, February 9–May 17, 1998, cat. 47 (ill.), traveled to Washington D.C., National Gallery of Art, June 14–September 29, 1998.
Florence, Palazzo Pitti, Claude Monet, La Poesia della luce, June 2–August 29, 1999, cat. 1, (ill.).
Moscow, State Pushkin Museum of Fine Arts, Claude Monet, November 26, 2001-Februrary 21, 2002, cat. 17 (ill.), traveled to St. Petersburg, Hermitage Museum, May 1, 2002-May 15, 2002.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 17 (ill.).
Paris, Galeries Nationales, Grand Palais, Claude Monet 1840-1926, September 22, 2010- January 24, 2011, cat. 44.
A. P[othey], “Beaux Arts,” Le Petit Parisien (April 7, 1877), p. 2.
Ch. Bigot, “Causerie artistique.” La Revue politique et littéraire (April 28, 1877), p. 1046.
J. A., “Beaux-Arts. Exposition de la galerie Georges Petit,” Art et critique (June 29, 1889), p. 76.
Gustave Geffroy, “Histoire de l’Impressionnisme,” La Vie Artistique sér. 3, 2 (Paris 1894), p. 68.
Andre Mellerio, L’Exposition 1900 et l’Impressionnisme (Paris 1900), p. 20.
Gustave Geffroy, Claude Monet: sa vie, son temps, son oeuvre (Paris, 1922), p. 92, 139 (ill.), 272.
Camille Mauclair, Claude Monet, trans. by J. Lewis May (New York, 1924), p. 61, pl. 20.
M. C., “Monets in the Art Institute,” Bulletin of The Art Institute of Chicago (February, 1925), p. 18–21, 19 (ill.).
Florent Fels, Claude Monet (Paris, 1925) p. 45 (ill.).
Madeleine Octave Maus, Trente Années de Lutte pour l’art: 1884–1914 (Bruxelles, 1926), p. 323.
Xenia Lathom, Claude Monet (London, 1931), pl. 16 (ill.).
Anthony Bertram, Claude Monet (London and New York, 1931), pl. 11 (ill.).
Daniel Catton Rich, “The Paintings of Marin A. Ryerson,” Bulletin of the Art Institute of Chicago 27 (1933), p. 11 (ill.).
Hans Tietze, Meisterwerke europaisher Malerei in America (Vienna, 1935), no. 289 (ill.).
Lionello Venturi, Les Archives de l’impressionnisme: Lettres de Renoir, Monet, Pissaro, Sisley et autres: Mémoires de Paul Durand-Ruel: Documents vol. 2 (Paris, 1939), p. 303.
Geroge Slocombe, “Giver of Light,” Coronet 3, 5 (March 1938), p. 20 (ill.).
A. M. Frankfurter, “393 Masterpieces of Art,” Art News 38 (1940), p. 41 (ill.).
Regina Shoolman and Charles E. Slatkin, The Enjoyment of Art In America (Philadelphia, 1942), p. 557 (ill.).
Hans Huth, “Impressionism Comes to America,” Gazette des Beaux-Arts sér. 6, 29 (April 1946), pp. 225–252, 238 (ill.), fig. 13.
Kenneth Clark, Landscape Into Art (London, 1949), p. 102, pl. 89, (ill.).
The Art Institute of Chicago, The Home Collection of Great Art Masterpieces vol. 1 (Chicago, 1950), p. 119 (ill.).
Lionello Venturi, Impressionists and Symbolists (New York, 1947–1950), fig. 56 (ill.).
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1956), pp. 34–35.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 318, 279 (ill.).
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84, 55 (September, 1966), pp. 190–207.
Gerald Needham, The Paintings of Claude Monet, 1859–1878 (February, 1971), pp. 83–86.
“Painting,” in The World Book Encyclopedia (1972), pp. 72 (ill.), 75.
John Maxon, The Art Institute of Chicago (London, 1977), ill.
Guy Hubbard and Mary J. Rouse, Art Discovering and Creating (Westchester, 1977), p. 178 (ill.).
The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), pp. 92–93 (ill.).
Diane Kelder, The Great Book of French Impressionism (New York, 1980), p. 205.
“Claude Monet,” The Great Artists, Part 6, vol. 1 (London, 1985), pp. 161–192, pl. 178.
John House, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery, 1985), p. 16, fig 7.
Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné Paris vol. 2 (Lausanne, 1979), p. 304, no. 440 (ill.).
Richard R. Brettell, French Impressionists (New York, 1987), pp. 42 (ill.), 43, 118.
Claire De Narbonne-Fontanieu, “Journey Through a Cultural Landscape,” France Magazine (Spring 1988), ill.
David Bomford et al., Art in the Making: Impressionism (New Haven, 1990), pp. 50, 56-58, 60, 61, 71, 72, 88, 90, 94-95, 97, 124, 147, cat. 10, pl. 163.
Andrew Forge, Monet in The Art Institute of Chicago (Chicago, 1995), pp. 22–24, pl. 5.
Daniel Wildenstein, Monet: Catalogue raisonné vol. 2 (Cologne, 1996), no. 440 (ill.).
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 17, p. 55 (ill.).
Mary Mathews Gedo, “The Course of Camille’s Final Illness and Its Repercussions in Monet’s Art,” Monet and His Muse: Camille Monet in the Artists Life, Chicago: The University of Chicago Press, 2010. p. 190, fig. 13.1.
Claude Monet 1840-1926, Exh. cat. (Musée d’Orsay), cat. 44.
Bought from the artist by Ernest Hoschedé, Paris in March 1877 [this and the following information according to Wildenstein 1996]. G. de Bellio, Paris, 1878. Ernest Donop de Monchy, Paris, 1894 [no. 79 in the manuscript catalogue of the collection, compiled prior to 1897]. Berheim-Jeune, Paris, c. 1899. Paul Rosenberg, Paris. Durand-Ruel, December 1911. Mr. and Mrs. Martin A. Ryerson, Chicago by 1913 [see Chicago 1933]; bequeathed to the Art Institute, 1933.