大運河とサンタ・マリア・デッラ・サルーテ聖堂

Created towards the end of Monet's stay in Venice, this study was never completed by the artist (W. 1772). It forms part of the collection of the Musée d'Arts de Nantes and speaks to the importance of the Gondola both in Venice and in Monet's work in the city. Of Monet's thirty seven views of Venice, at least twenty-four have this primary mode of transportation clearly visible in their compositions.

Built in 1425, the Palazzo Barbaro remained with the Barbaro family until they died out in the mid-nineteenth century. By 1885, Daniel Sargent Curtis, a relative of John Singer Sargent, purchased the Palazzo and it rapidly became a hive of activity for American artists and ex-pats.

Claude Monet started his stay in Venice here as a guest of Mrs. Hunter. Moving to the Hotel Britannia only after she departed the city in mid-October of 1908.

Henry James wrote novels in the library while Isabella Stewart Gardener used the architecture as inspiration for her sumptuous Boston home.

Sargent's An Interior in Venice captured the owners of the palazzo, Daniel and Ariana Sargent Curtis seated in the lavish living room, the light from the Grand Canal illuminating the interior.

Monet's two paintings of this venetian edifice (W. 1764-1765) are the only paintings of his Venice series to completely remove the sky as a component of the pictures' structure. Water and architecture become equally weighted in their importance in the composition and, while very clearly still a representation of Venice, both works seem to lose the sense of geographic specificity found in the majority of his other depictions of Venice. One of these two works is in the collection of the National Gallery of Art, Washington, D.C.

The Palazzo Dario is situated between the current Peggy Guggenheim Collection and Santa Maria della Salute. Also visible from both the Palazzo Barbaro and the Hotel Britannia, Monet set up his easel across the Grand Canal from the Palazzo Dario and used hte gothic facade, the most venetian of all craft - the gondola - and the reflective surface of the water to create four representations of the subject (W. 1757-1760), two of which are in museums: the Art Institute of Chicago and the National Museum of wales, Cardiff.

number of historic palaces that belonged to the Tiepolo family. Now the site of the St. Regis, the Hotel Britannia was the first hotel in Venice to provide its guests with electricity.

Upon Monet's arrival in mid-October 1908, his wife Alice wrote "We have finally arrived at the Hotel Britannia, with a view, if such a thing were possible, even more beautiful than that of Palazzo Barbaro..."

Monet painted six views of Santa Maria della Salute (W. 1736-1741) during the first two weeks of his stay. These canvases were painted from the Palazzo Barbaro where Monet was staying with Mrs. Hunter, a friend of Alice’s who they had met during their trip to London some year prior.

The dome of Santa Maria della Salute is emblematic of the city of Venice and featured prominently in the paintings of Canaletto, Turner, Sargent and Guardi, amongst many others.

Of the six canvases, one is located in the Museum of Fine Arts, Boston and another in the Fine Arts Museum of San Francisco. The present work is the brightest and most lucid of the entire series.

Monet painted three scenes of the Rio de la Salute (W. 1761-1763). Looking north towards the Grand Canal, he set up his easel with a clear view of the bridge that links the Rio Terra dei Catecumeni to the church of Santa Maria della Salute. One of these works is in a museum collection.

Monet painted three powerful scenes of the Palazzo Ducale (W. 1742-1744) from a boat moored close to the facade. In each of the canvases he captures morning light on the building and water, using the structure of the architecture and its reflection in the water's surface to create an overall effect. One of these works is held in the collection of the Brooklyn Museum.

Monet would undertake five further canvases showing the Palazzo Ducale from a greater distance (W. 1751-1756). In these works he positioned his easel on the island of St. Giorgio Maggiore and let the variety of light fully effect his final compositions. Of this view three are in institutions: the Kunsthaus Zurich, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum.

One further view of the Palazzo Ducale was painted from an altogether different vantage point, W. 1770, now in the collection of the Museum Barberini, Pottsdam

The Doge's palace was the residence of the Doge of Venice—the ultimate authority of the Venetian Republic and thus the site of civic power.

These two views looking out at the island of San Giorgio Maggiore with Santa Maria della Salute in the far distance are perhaps the most romantic in tone of any of Monet's Venice pictures (W. 1768-1769).

The artist would have looked at this view from the east bank of Saint Mark's canal and used his extraordinary mastery of sky, water, color, light and reflection to their full effect. Both paintings are held in museum collections.

The Island of San Giorgio Maggiore and its eponymous church designed by Palladio lie in the Venetian lagoon. Directly across from the Palazzo Ducale, it was also visible from the Hotel Britannia, where Monet remained to paint the majority of his scenes devoted to this view (W. 1745-1750), Of these six views, two are in institutions: the National Museum of Wales, Cardiff and the Indianapolis Museum of Art.

Daniel Wildenstein identifies the location of this brightly colored home as situated on the Fondamenta Bragadin that runs along the Rio di San Vio (W. 1771).

Built in the mid-fifteenth century, the Palazzo Contarini was, by the time Monet arrived in Venice, owned by Winnaretta Singer, the American heiress to the Singer sewing machine fortune. Winnaretta was married to the composer Prince Edmond de Polignac. When visiting their friends Mr. and Mrs. Daniel Curtis in 1900, the owners of Palazzo Barbaro, they viewed the Palazzo Contarini across the Grand Canal. Within weeks they had purchased the Palazzo.

It was from the vantage point of the Palazzo Barbaro that Monet too chose to view the Palazzo Contarini, painting two views of it which both celebrate the extraordinary edifice (W. 1766-1767), which are held in the permanent collections of the Museum Barberini, Pottsdam and the Kunstmuseum, Saint-Gallen respectively.