Arrival of the Normandy Train, Gare Saint-Lazare

CC0 Public Domain Designation

1877

Claude Monet (French, 1840–1926)

One of the most avant-garde aspects of the Impressionists was their choice of subject matter, which frequently included scenes derived from modern, industrial Paris, from iron bridges to exhibition halls to train sheds. The train station at Saint-Lazare would have been a familiar, meaningful sight to Claude Monet in the 1870s. The terminal linked Paris to Normandy, where the artist developed his technique of painting outdoors in the 1860s. It was also the point of departure for the towns and villages west and north of Paris that the Impressionists frequently visited. Monet completed eight of his twelve known paintings of the Gare Saint-Lazare in time for the third Impressionist exhibition, in 1877, probably displaying them in the same gallery.

Monet chose to focus his attention here on the glass-and-iron train shed, where he found an appealing combination of artiﬁ cial and natural effects—the rising steam of locomotives trapped within the structure and the daylight penetrating large, glazed sections of the roof, for instance. Monet’s depictions of the station inaugurated what was to become for him an established pattern of painting a speciﬁc motif repeatedly in order to capture subtle and temporal atmospheric changes, as in his famous series of stacks of wheat. But the Saint-Lazare paintings also represented his last attempt to capture urban life: from this point on in his career, Monet largely devoted himself to landscapes.

Status: On View, Gallery 201
Department: Painting and Sculpture of Europe

Artist: Claude Monet
Title: Arrival of the Normandy Train, Gare Saint-Lazare
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.: 1877
Medium: Oil on canvas
Inscriptions: Inscribed lower left: Claude Monet 77
Dimensions: 60.3 × 80.2 cm (23 3/4 × 31 1/2 in.); Framed: 80.7 × 100.4 × 10.2 cm (31 3/4 × 39 1/2 × 4 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1158
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/16571/manifest.json

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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, 2007), p. 113.
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. 19 (ill.); 54 (detail); 55, cat. 17 (ill.); 57. 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. 19 (ill.); 54 (detail); 55, cat. 17 (ill.); 57.
James H. Rubin, Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (University of California Press, 2008), p. 116.
Ian Kennedy, “Impressionism and Post-Impressionism,” in Ian Kennedy and Julian Treuherz, The Railway: Art in the Age of Steam, exh. cat. (Nelson-Atkins Museum of Art/Walker Art Gallery, Liverpool/Yale University Press, 2008), p. 159, fig. 56.
Jonathan Mane-Wheoki, “Monet’s Impressions of the Industrial Environment,” in George T. M. Shackelford, Monet and the Impressionists, exh. cat. (Art Gallery of New South Wales/Yale University Press, 2008), p. 149, fig. 33.
Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago/Yale University Press, 2009), pp. 9, 54, 55 (ill.).
Claudia Beltramo Ceppi, Monet: Il tempo delle ninfee, exh. cat. (Palazzo Reale/Giunti, 2009), pp. 33, fig. 18; 37.
Brian Dudley Barrett, Artist on the Edge: The Rise of Coastal Artists’ Colonies, 1880–1920, with Particular Reference to Artists’ Communities around the North Sea (Amsterdam University Press, 2010), p. 43 (ill.).
Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 189; 190, fig. 13.1.
Ségolène Le Men, Monet (Citadelles & Mazenod, 2010), pp. 19; 194; 216; 217, ill. 172; 218.
Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), p. 153, cat. 44 (ill.).
John House, “Le sujet chez Monet,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), pp. 23, 27.
Paul Stelkens, “Die Hensmann–Villa in Grosskönigsdorf,” in Egon Heeg, Axel Kurth, and Peter Schreiner, eds., Königsdorf im Rheinland, Pulheimer Beiträge zur Geschichte, Sonderveröffentlichung 34 (Verein für Geschichte, 2011), pp. 425, fig. 32; 427; 478, n. 28.
“Cat. 16: Arrival of the Normandy Train, Gare Saint-Lazare, 1877” 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.
Caroline Shields, Impressionism in the Age of Industry, exh. cat. (Friesens, 2019), 26-29, 50-54, 122-123, 240.
Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 16, 24, 26, 32 fig. 11, 52 (detail ill.), 53 cat. 18, 131.
Michel Draguet and Michelangelo van Meerten, Tracks to modernity, exh. cat. (Brussels: Royal Museum of Fine Arts of Belgium; Brussels: EUROPALIA Arts Festival; Veurne: Hannibal Books
, 2021), 51 cat. 42, 230.
Andrè Dombrowski, Monet’s Minutes: Impressionism and the Industrialization of Time (New Haven and London: Yale University Press, 2023), 126, 127 fig. 73, 128-29.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 74 (ill.).
Adriano Pedrosa and Fernando Oliva, eds., Monet’s Ecology, exh. cat. (São Paulo: Museu de Arte de São Paulo Assis Chateaubriand, 2005), 36, 54–5 fig. 35, 56, 58, 238.

Paris, 6, rue Le Peletier, 3e exposition de peinture [third Impressionist exhibition], Apr. 1877, cat. 97, as Arrivée du train de Normandie, gare St-Lazare, appartient à M. H … .
Paris, Galerie Georges Petit, 6e exposition international e de peinture et de sculpture, May 8–June 8, 1887, no cat. no.
Paris, Galerie Georges Petit, Claude Monet—A. Rodin, June 21–Sept. 21, 1889, cat. 33, as Gare Saint-Lazare. 1877. Appartient à M. de Bellio.
Paris, Grand Palais des Champs-Élysées, Exposition Universelle de 1900, L’exposition centennale de l’art français de 1800 a 1889, May 1–Nov. 12, 1900, cat. 484, as Le Train de Normandie (à M. Alexandre Bernheim jeune [sic]).
Brussels, Libre Esthétique, Exposition des peintres impressionnistes, Feb. 25–Mar. 29, 1904, cat. 98, as La Gare Saint-Lazare. Exposition centennale, 1900. Appartient à MM. J. et G. Bernheim jeune [sic].
New York, Durand-Ruel, Monet, Dec. 2–23, 1911, cat. 8.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 299.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 219.
Boston, Museum of Fine Arts, Independent Painters of Nineteenth Century Paris, Mar. 15–Apr. 28, 1935, cat. 32.
New York World’s Fair, European & American Paintings, 1500–1900: Masterpieces of Art, May–Oct. 1940, cat. 322.
Dayton (Ohio) Art Institute, The Railroad in Painting: An Exhibition of Paintings Shown at the Dayton Art Institute, Apr. 19–May 22, 1949, cat. 50 (ill.).
Cambridge, Massachusetts Institute of Technology, Charles Hayden Memorial Library, The Painter and the City, May 8–June 15, 1950, no cat. no. (ill.).
Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, Nov. 3, 1950–Feb. 11, 1951, cat. 70 (ill.).
Paris, Musée de l’Orangerie, De David à Toulouse-Lautrec: Chefs-d’oeuvres des collections américaines, Apr. 20–July 3, 1955, cat. 42 (ill.).
Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
Munich, Haus der Kunst München, Französische Malerei des 19. Jahrhunderts: Von David bis Cézanne, Oct. 7, 1964–Jan. 6, 1965, cat. 191 (ill.).
Minneapolis Institute of Arts, The Past Rediscovered: French Painting, 1800–1900, July 3–Sept. 7, 1969, cat. 60 (ill.).
New York, Wildenstein and Company, “One Hundred Years of Impressionism:” A Tribute to Durand-Ruel, Apr. 2–May 9, 1970, cat. 37 (ill.).
Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 42 (ill.).
Art Institute of Chicago, Art at the Time of the Centennial, June 19–Aug. 8, 1976, no cat.
Washington, D.C., National Gallery of Art, Manet and Modern Paris, Dec. 5, 1982–Mar. 6, 1983, cat. 14 (ill.).
Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 32 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales, Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985, cat. 70 (ill.).
Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 6, 1986, cat. 51 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.
Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1, 1993–Jan. 9, 1994, not in cat.
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. 7 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.
Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 50 (ill.).
Vienna, Österreichische Galerie, Claude Monet, Mar. 14–June 16, 1996, cat. 24 (ill.).
Copenhagen, Ordrupgaard, Impressionister i byen, Sept. 6–Dec. 1, 1996, cat. 44 (ill.).
Paris, Musée d’Orsay, Manet, Monet and the Gare Saint-Lazare, Feb. 9–May 17, 1998, cat. 47 (ill.); Washington, D.C., National Gallery of Art, June 14–Sept. 20, 1998.
Florence, Sala Bianca di Palazzo Pitti, Claude Monet: La poesia della luce; Sette capolavori dell’Art Institute di Chicago a Palazzo Pitti, June 2–Aug. 29, 1999, no cat. no. (ill.).
Moscow, State Pushkin Museum of Fine Arts, Klod Mone [Claude Monet], Nov. 26, 2001–Feb. 21, 2002, cat. 17 (ill.), Saint Petersburg, State Hermitage Museum, May 1–15, 2002.
New York, Wildenstein and Company, Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, April 27–June 15, 2007, cat. 21 (ill.).
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 17 (ill.).
Paris, Galeries Nationales, Grand Palais, Claude Monet, 1840–1926, Sept. 22, 2010–Jan. 24, 2011, cat. 44 (ill.).
Munich, Städel Museum, Monet and the Birth of Impressionism, March 11-June 21, 2015, cat. 85.
Art Institute of Chicago, John Singer Sargent and Chicago’s Gilded Age, June 27-Septembet 30, 2018.
Toronto, Art Gallery of Ontario, Impressionism in the Age of Industry, February 16 - May 5 2019
Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 18.
Brussels, Musees royaux des beaux-arts de Belgique, Tracks to Modernity, Oct. 13, 2021-Feb. 13, 2022, cat. 42.
Paris, Musée d’Orsay, Enfin le cinéma! Arts, images et spectacles en France 1833-1907, Sep. 27, 2021-Jan. 16, 2022; Loas Angeles County Museum of Art, City of Cinema: Paris 1850-1907, Feb. 20-July 10, 2022 [Los Angeles only]

The artist (d. 1926); sold to Ernest Hoschedé, Paris and Montgeron, Mar. 1877 [this and the following per Wildenstein 1996]. Georges de Bellio (d. 1894), Paris, 1878; by descent his daughter Victorine (de Bellio) Donop de Monchy and son-in-law Eugène Donop de Monchy, Paris, 1894 [per Niculescu, Paragone 249 (Nov. 1970)]. Bernheim-Jeune, Paris, around 1899 [this and the following per Wildenstein 1996]. Paul Rosenberg, Paris, by Oct. 13, 1911; sold to Durand-Ruel, Paris, Oct. 13, 1911, for 13,000 francs [per Durand-Ruel, Paris, stock book for 1901 (no. 9749, as La gare Saint-Lazare, le train de Normandie), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Durand-Ruel, New York, by Dec. 16, 1911 [this and the following per Durand-Ruel, New York, stock book for 1904–24 (no. 3502, as Paris la gare Saint-Lazare), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold to Martin A. Ryerson (d. 1932), Chicago, Dec. 16, 1911, for $7,000; bequeathed to the Art Institute of Chicago, 1933.

Wildenstein, Claude Monet, biographie et catalogue raisonné, 1979 440

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