Venice, Palazzo Dario

1908

Claude Monet (French, 1840–1926)

Claude Monet was reluctant to visit and paint Venice due to the proliferation of images of the city on the art market. When he was finally persuaded to travel there in 1908, however, he found himself inspired by the colors and atmosphere. Although he still worried about producing only trite “souvenir” images of the city, his handling of paint and color here shows his unique perspective on the well-known Palazzo Dario: he depicted the square’s sturdy marble buildings in the same way as the water, subtly dissolving the forms as if they are floating in the Venetian haze.

Status: On View, Gallery 243
Department: Painting and Sculpture of Europe

Artist: Claude Monet
Title: Venice, Palazzo Dario
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1908
Medium: Oil on canvas
Inscriptions: Inscribed lower left: Claude Monet 1908
Dimensions: 66.2 × 81.8 cm (26 1/16 × 32 3/16 in.); Framed: 79.7 × 94 × 6.1 cm (31 3/8 × 37 × 2 3/8 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1933.446
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/14630/manifest.json

Bernheim-Jeune, Claude Monet: “Venise,” with a preface by Octave Mirbeau, exh. cat. (Bernheim-Jeune, [1912]), cat. 19.
Gustave Geffroy, “La Venise de Claude Monet,” La dépêche de Toulouse, May 30, 1912, p. 1.
“Art et curiosité: Une féerie de lumière et de couleur; Venise vue par Cl. Monet,” Le temps, June 11, 1912, p. 4.
Henri Genet, “Beaux-Arts et curiosité. Les ‘Venise’ de Cl. Monet,” L’opinion, June 1, 1912, p. 698.
American Art Association, New York, Illustrated Catalogue of Highly Important Old and Modern Paintings of Sterling Artistic Distinction belonging to Mr. Arthur B. Emmons, Newport, to the Estate of the Late Thatcher M. Adams, New York, to the Private Collector Mr. Joseph F. Flanagan, Boston, Collections of the late Mr. Henry Sayles, Boston and Mrs. Harris B. Dick, New York, and Other Estates and Private Owners (American Art Association, Jan. 14, 1920), lot 42 (ill.).
“Revue des ventes. New York,” Le journal des arts, Feb. 21, 1920, p. 3.
“Collections Emmons, Flanagan Sayles et autres à New York,” La chronique des arts 4 (Feb. 29, 1920), p. 32.
Gustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Crès, 1922), opp. p. 312 (ill.).
Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 20, cat. 26.
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. 38, cat. 221.
Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), pp. 254, fig. 121; 255; 288.
Art Center in La Jolla, Great French Paintings, 1870–1910, exh. cat. (Art Center in La Jolla, 1956), p. 13, cat. 10 (ill.).
Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.
William C. Seitz, Claude Monet: Seasons and Moments, exh. cat. (Museum of Modern Art, New York/Los Angeles County Museum of Art/Doubleday, 1960), p. 63, cat. 97.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 322.
James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo 84, 55 (Sept. 1966), p. 222.
Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 170, cat. 113 (ill.).
James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 59, cat. 3B4; microfiche 3, no. B4 (ill.).
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 240; 241, cat. 1757 (ill.); 385, letter 2012a; 430, pièces justificatives 239, 240, 241; 431, pièce justificative 294; 432, pièce justificative 313.
Daniel Wildenstein, Claude Monet: Catalogue raisonné, vol. 5, Supplément aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 118, cat. D404.
Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 65; 103, pl. 32; 109.
Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 389, cat. 1757 (ill.).
Daniel Wildenstein, Monet: Catalogue raisonné, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), pp. 822–24, cat. 1757 (ill.).
Pablo García Sainz, ed., “Los Pintores de Venecia,” Saber ver: Lo contemporáneo del arte 37 (Nov.–Dec. 1997), pp. 71, 72 (ill.).
Joachim Pissarro, Monet and the Mediterranean, exh. cat. (Kimbell Art Museum/Rizzoli, 1997), pp. 164; 167, pl. 93.
Matthias Arnold, Claude Monet, Rowohlts Monographien (Rowohlt, 1998), p. 141 (ill.). Translated by Anne Wyburd, Monet (Haus, 2005), p. 145 (detail).
Norio Shimada and Keiko Sakagami, Kurōdo Mone meigashū: Hikari to kaze no kiseki [Claude Monet: 1881–1926], vol. 2 (Nihon Bijutsu Kyōiku Sentā, 2001), pp. 130, no. 253 (ill.); 191.
Katharine Lochnan, “Turner, Whistler, Monet: An Artistic Dialogue,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), p. 35.
John House, “Tinted Steam: Turner and Impressionism,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), p. 49.
Sylvie Patin, “The Last Act: Turner, Whistler and Monet in Venice,” in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario/Tate Publishing, 2004), pp. 206; 212; 213, no. 88; 214, no. 88 (ill.).
Stephen F. Eisenman, “Death and Tourism: Claude Monet’s Paintings of Venice,” in Value: Art: Politics: Criticism, Meaning and Interpretation after Postmodernism, ed. Jonathan Harris (Liverpool University Press, 2007), p. 141, fig. 11.
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), p. 171, cat. 89 (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), p. 171, cat. 89 (ill.).
Philippe Piguet, Monet et Venise, rev. and complete ed. (Herscher, 2008), pp. 110-11 (ill.).
Ségolène Le Men, “Un horizon de peinture,” in Sylvain Amic, Eblouissants reflets: Cent chefs-d’œuvre impressionnistes, exh. cat. (Réunion des Musées Nationaux-Grand Palais/Musée de la Ville de Rouen, 2013), pp. 281; 284, cat. 155 (ill.).
“Cat. 45: Venice, Palazzo Dario, 1908” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470.
Richard Thomson, Monet and Architecture, exh. cat. (National Gallery Company London/ Yale University Press, 2018), pp. 204, 205, plate193 (ill), 229, 248.
Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 118 (detail ill.), 119 cat. 74, 140.

Paris, Bernheim-Jeune, Claude Monet: “Venise,” May 28–June 8, 1912, cat. 19, as Le Palais Dario.
Boston, Brooks Reed Gallery, Monet. Venise, late Oct. 1912.
Boston, Brooks Reed Gallery, Tableaux Durand-Ruel, Mar. 1921.
Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6–Oct. 9, 1932, cat. 26.
Art Institute of Chicago, ”A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 221.
University of Chicago, Lexington Hall, Nov. 28–Dec. 19, 1951, no cat.
Chicago, Remington Rand, window display, Apr. 14–30, 1952, no cat.
University of Chicago, Lexington Hall, Mar. 1–20, 1954, no cat.
University of Chicago, Lexington Hall, Feb. 25–Mar. 11, 1955, no cat.
University of Chicago, College of Humanities, Feb. 27–Mar. 16, 1956, no cat.
Park Forest (Ill.) Art Center, Mar. 25–Apr. 22, 1956, no cat.
Art Center in La Jolla (Calif.), Great French Paintings, 1870–1910, June 15–July 26, 1956, cat. 10 (ill.).
Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
New York, Museum of Modern Art, Claude Monet: Seasons and Moments, Mar. 9–May 15, 1960, cat. 97; Los Angeles County Museum, June 14–Aug. 7, 1960.
Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 113 (ill.).
Fort Worth, Tex., Kimbell Art Museum, Monet and the Mediterranean, June 8–Sept. 7, 1997, cat. 93 (ill.); New York, Brooklyn Museum of Art, Oct. 10, 1997–Jan. 4, 1998.
Toronto, Art Gallery of Ontario, Turner; Whistler; Monet, June 12–Sept. 12, 2004, cat. 88 (ill.); Paris, Galeries Nationales du Grand Palais, Oct. 12, 2004–Jan. 17, 2005; London, Tate Britain, Feb. 10–May 15, 2005.
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 89 (ill.).
Rouen, Musée des Beaux-Arts, Éblouissants reflets: Cent chefs-d’oeuvre impressionnistes, Apr. 29–Sept. 30, 2013, cat. 155 (ill.).
London, The National Gallery, Monet & Architecture, Apr. 9-July 9, 2018, plate 193 (ill).
Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 74.

The artist (d. 1926); sold in half-shares, to Bernheim-Jeune, Paris, and Durand-Ruel, Paris, Apr. 10, 1912, for 10,000 francs [per Durand-Ruel, Paris, stock book for 1901–13 (no. 10000, as Palais Dario), 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]; sold to Durand-Ruel, New York, Oct. 11, 1912, or Oct. 17, 1912 [The Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book states: “Sold to DR New York on 11 October 1911.” The New York stock book for 1904–24 states: “Purchased by DR New York on 17 October 1912 as Venise, Palais Dario, 1908 / Stock DR New York no. 3542,” 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]; sold to Arthur B. Emmons, Newport, Rhode Island, Dec. 26, 1912, for $7,500 [per Durand-Ruel, New York, stock book for 1904–24 (no. 3542, as Venise, Palais Dario, 1908), 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]; sold back to Durand-Ruel, New York, May 27, 1913, for 37,600 francs [this and the following per Durand-Ruel, New York, stock book for 1904–24 (no. 3647, as Venise, Palais Dario, 1908), 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]; sold back to Arthur B. Emmons, Newport, Rhode Island, May 27, 1913, for $6,500; sold at the Arthur B. Emmons, Newport, Rhode Island, sale, American Art Association, New York, Jan. 14, 1920, lot 42, to Durand-Ruel, New York, and Knoedler, New York, in half-shares, for $5,800 [per Durand-Ruel Archives and the Durand-Ruel, New York, stock book 1904–1924, 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]; sold to Annie Swan Coburn (d. 1932), Chicago, Feb. 8, 1923, for $9,735 + tax [per Durand-Ruel, New York, stock book for 1904–24 (no. 4408, as Venise, Palais Dario, 1908), 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]; bequeathed to the Art Institute of Chicago, 1933.

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 1757

Wildenstein, Claude Monet, cat rais. 1996 1757

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

On View

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

On View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Catalogues Raisonnés

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.