
Claude Monet first discovered Venice in 1908 when he was 68 years old. The two months Monet spent there are documented in letters he and his wife Alice sent to friends and family in France. They tell of the highs and lows he experienced during his short visit and how he ultimately wished he’d traveled there as a much younger man.
“There were pigeons all over us and I was wincing a bit with fright. But the picture was taken the moment they flew away.” Alice Monet, Venice, October 6, 1908.
The canvases Monet painted during his sole voyage to Venice, in the fall of 1908, are among the most popular and the best known of his art works. However, their number is relatively small: 37 canvases featuring a dozen different views, taken within short distance of one another.
“Although I am enthusiastic about Venice, and though I’ve started a few canvases, I’m afraid I will only bring back beginnings that will be nothing else but souvenirs for me,” Monet wrote to the art seller Gaston Bernheim on October 25.
According to Monet himself, the painter did only “trials and beginnings” in Venice. Although the canvases were finished afterwards in studio, they do not have the same impasto as other works Monet had struggled with, like the Rouen Cathedral series. When leaving Giverny, Monet did not know if he would feel like painting in Venice. He may have been reluctant to deal with a subject that others had already painted so many times. In order to feel free to work if he chose, he sent his painting materials ahead. Once he saw the city, Monet was “gripped by Venice.” After several days looking for locations, he felt an urge to paint.
The suite of Venetian views he realized can be considered somewhat like the pictures a tourist would like to bring home. He set his heart on the well-known landmarks near the Grand Canal -the Doge’s Palace and San Giorgio (which could be viewed from his accomodations) or da Mula Palace- or on such typical scenery as Rio de la Salute.
Gradually, the sojourn turned into a real painting campaign, just like the many campaigns he had undertaken before. Monet, painter of water and monuments, experienced the shock of encountering a city that unites both.
Monet had already been in Italy, but not further than Bordighera on the Riviera. The opportunity afforded by an invitation from his English friend Mary Hunter persuaded him to make the trip. He and his wife would stay in the Barbaro Palace on the Grand Canal.
The trip filled his wife Alice with joy: Usually they would not stray far from Giverny, where Monet had been exploring the secrets of his water lilies for five years.
Thanks to Alice, we have all the details about their Italian stay, for she wrote daily to her daughter Germaine Salerou. This correspondence was published in 1986 by Germaine Salerou’s grandson (Philippe Piguet, Monet et Venise, published by Herscher).
The Monets arrived in Venice by train on October 1, 1908. “It is too beautiful to be painted! It is untranslatable!” Monet exclaimed, lost in admiration. But of course he took up the challenge. As soon as his painting materials arrived and the weather became acceptable, he put himself on work on October 9.
His timetable was ruled by the passage of the sun: from 8 a.m. at the first motif, San Giorgio Maggiore, facing St Mark’s Square. At ten in St Mark’s Square, facing San Giorgio. After lunch, Monet worked on the steps of the Palazzo Barbaro, painting the Palazzo da Mula. At the end of the day, Monet treated himself and Alice to a sunset gondola ride. They were back at 7 p.m.
Leave a Reply