Monet visited Venice for the first time in autumn 1908. Captivated by the "unique light," he embarked on a painting campaign featuring four different areas of the cityscape. He began each day with views such as this one, showing the airy façade of the Doge’s Palace from across the water on the islet of San Giorgio Maggiore. Monet departed Venice reluctantly, writing "It's so beautiful … I console myself with the thought of returning next year, for I was only able to make attempts, beginnings." Although he never returned, Monet continued working on his canvases. The present picture and twenty-eight others were exhibited to acclaim in Paris in the spring of 1912.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:The Doge's Palace Seen from San Giorgio Maggiore
Artist:Claude Monet (French, Paris 1840–1926 Giverny)
Medium:Oil on canvas
Dimensions:25 3/4 x 36 1/2 in. (65.4 x 92.7 cm)
Credit Line:Gift of Mr. and Mrs. Charles S. McVeigh, 1959
Inscription: Signed and dated (lower right): Claude Monet 1908
[Bernheim-Jeune, Paris, and Durand-Ruel, Paris, 1912–31; bought from the artist on May 15, 1912 for Fr 12,000; sold 1931 to McVeigh]; Mr. and Mrs. Charles S. McVeigh, New York (1931–59; life interest 1959–63, relinquished and accepted by the Board of Trustees on September 10, 1963)
Paris. Galerie Bernheim-Jeune. "Claude Monet: "Venise"," May 28–June 8, 1912, no. 17 or 18.
Columbus, Ohio. Columbus Gallery of Fine Arts. January 1916, no catalogue? [see Wildenstein 1985].
Cleveland. location unknown. February 1916, no catalogue? [see Wildenstein 1985].
Arsène Alexandre. "La Vie artistique: Claude Monet et Venise." Le Figaro (May 29, 1912), p. 4.
Gustave Geffroy. "La Venise de Cl. Monet." La dépêche de Toulouse (May 30, 1912), p. 1 [see Ref. Wildenstein 1996].
Henri Genet. "Beaux-Arts et curiosité: les "Venise" de Cl. Monet." L'Opinion (June 1, 1912), p. 698 [see Ref. Wildenstein 1996].
Georges Lecomte. "Un radieux poème à la gloire de Venise. . ." Le Matin (June 3, 1912), p. 6 [see Ref. Wildenstein 1996].
"Art et curiosité: Une féerie de lumière et de couleur. Venise vue par Claude Monet." Le temps (June 11, 1912), p. 4.
"Vision d'art: Venise par Claude Monet." Le Gaulois (June 14, 1912), p. 1.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, p. 143, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 300–1, 305, fig. 30.
Joel Isaacson. Observation and Reflection: Claude Monet. Oxford, 1978, pp. 45, 181, 230, pl. 136, dates it 1908–12.
Sylvie Gache inHommage à Claude Monet (1840–1926). Exh. cat., Galeries nationales du Grand Palais. Paris, 1980, p. 320.
Grace Seiberling. Monet's Series. PhD diss., Yale University. New York, 1981, pp. 210, 379, no. 11.
Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 4, 1899–1926: Peintures. Lausanne, 1985, pp. 58, 75 n. 686, pp. 238, 240–41, no. 1755, ill.
Charles F. Stuckey, ed. Monet: A Retrospective. New York, 1985, p. 282, colorpl. 106.
Philippe Piguet. Monet et Venise. Paris, 1986, p. 79, fig. 11 (color), claims that it was number 18 in the 1912 Bernheim-Jeune exhibition of Monet's Venetian scenes.
Gary Tinterow inTreasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo?], 1989, p. 149, no. 94, ill. (color).
Richard Kendall, ed. Monet by Himself. London, 1989, ill. p. 239 (color).
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 478, ill.
Daniel Wildenstein. Monet. Vol. 4, Catalogue raisonné–Werkverzeichnis: Nos. 1596–1983 et les grandes décorations. 2nd ed. Cologne, 1996, pp. 821–22, no. 1755, ill. (color).
Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, p. 385.
Joachim Pissarro. Monet and the Mediterranean. Exh. cat., Kimbell Art Museum, Fort Worth. New York, 1997, pp. 50, 152, colorpl. 83.
Paul Hayes Tucker inMonet in the 20th Century. Ed. Paul Hayes Tucker and Mary Anne Stevens. Exh. cat., Museum of Fine Arts, Boston. Boston, 1998, p. 283, no. 55, ill. p. 51 (color detail) and colorpl. 55,
David Gervais. "Exhibition Reviews: London, Monet." Burlington Magazine 141 (April 1999), p. 240.
Michael Diener. Das Ambivalente in der Kunst Leonardos, Monets und Mondrians. PhD diss., Universität Saarbrücken. St. Ingbert, 2002, pp. 180–81 n. 484, pp. 192–93, 200 n. 531, pp. 210–11, p. 220 n. 591, pp. 224, 227–28 n. 609.
Eric M. Zafran inClaude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 133.
Tomoko Matsuoka inL'Art de Monet et sa postérité. Exh. cat., National Art Center, Tokyo. Tokyo, 2007, pp. 110, 114, 264, no. 53, ill. p. 112 (color).
Gottfried Boehm inVenice: From Canaletto and Turner to Monet. Ed. Martin Schwander. Exh. cat., Fondation Beyeler. Basel, 2008, pp. 196, 217, ill. p. 211 (color).
Anne-Birgitte Fonsmark inMonet: Beyond Impressionism. Exh. cat., Ordrupgaard. Copenhagen, 2016, pp. 196, 214, ill. (color).
Paul Hayes Tucker inMonet: Beyond Impressionism. Exh. cat., Ordrupgaard. Copenhagen, 2016, pp. 165–66, fig. 112 (color).
Julia Knöschke inImpressionism: The Art of Landscape. Ed. Ortrud Westheider and Michael Philipp. Exh. cat., Museum Barberini, Potsdam. Munich, 2017, p. 225.
This is one of five versions (W1751–1755) of this subject painted by Monet, all dated 1908. A sixth canvas (W1756), also dated 1908, depicts the same scene from a slightly different viewpoint.
Loan of this work is restricted.
The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met’s Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.
Collections Management Associate Bianca Ruthven highlights some of the recent discoveries being made about the European Paintings collection as artworks are being moved in preparation for the Skylights Project.
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.