About This Artwork

Claude Monet
French, 1840-1926

Houses of Parliament, London, 1900/01

Oil on canvas
81.2 x 92.8 cm (32 x 36 9/16 in.)
Inscribed at lower right: Claude Monet

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1164



During his London campaigns, Claude Monet painted the Houses of Parliament in the late afternoon and at sunset from a terrace at Saint Thomas’s Hospital. This viewpoint was close to that of the English artist J. M. W. Turner in his visionary paintings of the fire that had destroyed much of the old Parliament complex in 1834. In his response to the poetry of dusk and mist, however, Monet was actually inspired by the work of a more recent painter of the Thames, the American James McNeill Whistler.

— Permanent collection label

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by Claude Monet in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

San Francisco, California Palace of the Legion of Honor and the M. H. de Young Memorial Museum, Seven Centuries of Painting: A Loan Exhibition of Old and Modern Masters, Dec. 29, 1939–Jan. 28, 1940, cat. L-132 (ill.).

University of Chicago, Lexington Hall, Nov. 28–Dec. 19, 1951, no cat.

Chicago, Remington Rand, window display, Apr. 14–30, 1952, no cat.

Wichita (Kans.) Art Museum, Three Centuries of French Painting, May 9–23, 1954, cat. 18.

Park Forest (Ill.) Art Center, Mar. 25–Apr. 22, 1956, no cat.

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

Iowa City, University of Iowa Gallery of Art, Impressionism and Its Roots, Nov. 8–Dec. 6, 1964, cat. 37 (ill.).

London, Hayward Gallery, The Impressionists in London, Jan. 3–Mar. 11, 1973, cat. 28 (ill.).

Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 106 (ill.).

Shelburne (Vt.) Museum, June 7, 1984–Jan. 29, 1985, no cat.

Auckland City Art Gallery, Claude Monet: Painter of Light, Apr. 29–June 9, 1985, cat. 33 (ill.); Sydney, Art Gallery of New South Wales, June 21–Aug. 4, 1985; Melbourne, National Gallery of Victoria, Aug. 14–Sept. 29, 1985.

Atlanta, High Museum of Art, Monet in London, Oct. 9, 1988–Jan. 8, 1989, cat. 20 (ill.).

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 117 (ill.).

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 88 (ill.).

Publication History

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2147.

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

Anthony Bertram, Claude Monet, The World’s Masters (Studio/William Edwin Rudge, 1931), pl. 20.

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.

California Palace of the Legion of Honor and M. H. de Young Memorial Museum, Seven Centuries of Painting: A Loan Exhibition of Old and Modern Masters, exh. cat. (Recorder, 1939), pp. 47, cat. L-132; 108, cat. L-132 (ill.).

Buford L. Pickens, “H. H. Richardson and Basic Form Concepts in Modern Architecture,” Art Quarterly 3 (1940), pp. 275, fig. 2; 277.

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

Wichita Art Museum, Three Centuries of French Painting, exh cat. (Wichita Art Museum, 1954), p. 3, cat. 18.

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

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

Frank Seiberling, “A Guide to the Exhibition,” in University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), p. 7.

University of Iowa Gallery of Art, Impressionism and Its Roots, exh. cat. (University of Iowa Gallery of Art, 1964), p. 43, cat. 37 (ill.).

Anthea Callen, The Impressionists in London, exh. cat. (Arts Council of Great Britain, 1973), pp. 48–49, cat. 28 (ill.).

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. 163, cat. 106 (ill.).

A. James Speyer, Twentieth-Century European Paintings, compiled by Courtney Graham Donnell (University of Chicago Press, 1980), p. 59, cat. 3A12; microfiche 3, no. A12 (ill.).

Grace Seiberling, Monet’s Series (Garland, 1981), p. 378, no. 53.

John House, “Catalogue of the Exhibition,” in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI, 1985), pp. 102; 103; 105, cat. 33 (ill.).

John House, “Monet and the Genesis of His Series,” in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI, 1985), pp. 16, 23.

Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 184; 185, cat. 1600 (ill.); 431, pièce justificative 278.

Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 91, 92 (ill.), 118.

Grace Seiberling, Monet in London, exh. cat. (High Museum of Art/University of Washington Press, 1988), pp. 23, fig. 17; 59; 62; 84; 102, cat. 20.

Judi Freeman, “Far from the Earth of France: The Fauves Abroad,” in Judi Freeman, The Fauve Landscape, exh. cat. (Los Angeles County Museum of Art/Abbeville, 1990), pp. 187; 190, pl. 192; 191.

Nina Kalitina, Claude Monet: Tableaux des musée d’URSS (Èd. d’Art Aurora/Cercle d’Art, 1990), p. 124 (ill.).

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 56; 57; 99, pl. 28; 109.

Judi Freeman, Fauves, exh. cat. (Art Gallery of New South Wales/Thames & Hudson, 1995), p. 86, fig. 1.

Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), p. 138, cat. 117 (ill.).

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), pp. 708–09, cat. 1600 (ill.).

Meyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 181–82; 183, fig. 86.

Thomas McBurney, Artistic Greatness: A Comparative Exploration of Michelangelo, Beethoven, and Monet (Galde, 1999), p. 305 (ill.).

Matthew Drutt, ed., Thannhauser: The Thannhauser Collection of the Guggenheim Museum (Solomon R. Guggenheim Foundation, 2001), pp. 140, 142 (ill.).

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), pp. 118, fig. 3; 119.

David A. Brenneman, “Claude Monet, Le Parlement de Londres, effet de brouillard,” in L’impressionnisme, de France et d’Amérique: Monet, Renoir, Sisley, Degas . . . , ed. Françoise Cachin and Richard R. Brettell, exh. cat. (Artlys/Musée Fabre/Musée de Grenoble, 2007), p. 136.

Eric M. Zafran, “Monet in America,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein and Co., 2007), p. 112.

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. 167; 170, cat. 88 (ill.); 171. 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. 167; 170, cat. 88 (ill.); 171.

Paul Hayes Tucker, “André Derain, The Palace of Westminster, 1906–7,” in Richard R. Brettell, Paul Hayes Tucker, and Natalie H. Lee, The Robert Lehman Collection, vol. 3, Nineteenth- and Twentieth-Century Paintings (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. 253, fig. 3; 255.

“Cat. 41: Houses of Parliament, London, 1900/01” 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 [unknown] to Rosenberg, Paris, by Oct. 10, 1916. [1]

Sold by Rosenberg, Paris, to Durand-Ruel, Paris, Oct. 10, 1916, for 22,500 francs. [2]

Sold by Durand-Ruel, Paris, to Durand-Ruel, New York, Nov. 6 or Dec. 4, 1916. [3]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Dec. 18, 1916, for $10,000. [4]

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

NOTES

[1] According to the Durand-Ruel,Paris, stock book for 1913–21 (no. 10899, as Westminster, 1903): “Purchased from Rosenberg by DR Paris on 10 October 1916 for 22 500 F / Stock DR Paris no. 10899; photo no. 8218,” 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 1913–21 (no. 10899, as Westminster, 1903): “Purchased from Rosenberg by DR Paris on 10 October 1916 for 22 500 F/Stock DR Paris no. 10899; photo no. 8218,” 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 Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book for 1913–21 (no. 10899, as Westminster, 1903) states: “Sold to DR New York on 6 November 1916.” The New York stock book for 1904–24 (no. 4026, as Vue de Londres, Westminster, 1903) states: “Purchased by DR New York on 4 December 1916 as Vue de Londres, Westminster, 1903 / Stock DR New York no. 4026.” 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 transaction is recorded in the Durand-Ruel, New York, stock book for 1904–24 (no. 4026, as Vue de Londres, Westminster, 1903): “sold to M.A. Ryerson on 18 December 1916 for $ 10 000,” 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. See also, Durand-Ruel to M. A. Ryerson, Dec. 26, 1916, in which Durand-Ruel informs Mr. Ryerson that they sent, on the date of the letter, the painting Mr. Ryerson had recently purchased. Wildenstein includes the stock number 4026 in brackets. See an excerpt from this letter in Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), p. 431, pièce justificative 278. 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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