© President and Fellows of Harvard College
Gallery Text

Between 1899 and 1901, Monet visited London three times, for a total of more than seven months. He rented the same room on the sixth floor of the Savoy Hotel on the Victoria Embankment and painted the view from his window of south London and the Thames. The resultant works — more than a hundred paintings and twenty pastels — formed the largest series he had produced to that date. Here, as in other works, he layers blue, green, and pink tones on a cool backdrop, offering an atmospheric view of the riverfront. This oil was included in an exhibition of his views of the Thames at the Galerie Durand-Ruel in Paris in 1904. René Gimpel, a prominent art dealer in Paris, visited Monet at his home years later and quoted him in his diary as having said: “I adore London; it’s a mass, a whole, and it’s so simple. But what I love more than anything in London is the fog.”

Identification and Creation
Object Number
1979.329
People
Claude Monet, French (Paris, France 1840 - 1926 Giverny, France)
Title
Charing Cross Bridge: Fog on the Thames
Other Titles
Alternate Title: Charing Cross Bridge, Brouillard sur la Tamise
Original Language Title: Le Soleil sur la Tamise à Londres, brouillard
Classification
Paintings
Work Type
painting
Date
1903
Culture
French
Location
Level 2, Room 2700, European and American Art, 19th century, Impressionism and the Late Nineteenth Century
View this object's location on our interactive map
Physical Descriptions
Medium
Oil on canvas
Dimensions
73.7 x 92.4 cm (29 x 36 3/8 in.)
frame: 90.5 x 109.9 x 7 cm (35 5/8 x 43 1/4 x 2 3/4 in.)
Inscriptions and Marks
  • inscription: lower right: Claude Monet 1903
  • stamp: back of frame, black stamp on all four sides and stretcher bar: 30W
  • inscription: back of frame, left edge, black ink: 6492[?]
  • label: back of frame, top, label with blue edges, inscribed in black ink: Cadre no. 3
  • inscription: back of frame, right edge, blue chalk: 6492 [double underline]
  • stamp: Back of stretcher, right edge, black stencil: 30
  • inscription: back of stretcher, upper right, inscription on cloth tape in black ink: MONET, C. / 605.66 / Anonymous Loan
  • inscription: back of stretcher, upper right, pinkish-tan label, inscribed in brown ink: Monet [printed:] No. [inscribed:] 4813 [Durand-Ruel New York stock no.] / Le soleil s/ la Tamise / à Londres, Charing / Cross 1903 M4
  • label: stretcher bar, cream label, inscribed in brown ink: Le Soleil sur la Tamise / à Londres Brouillard
  • label: stretcher bar, cream label, inscribed in brown ink: Monet n. 11864 [Durand-Ruel Paris stock no.] / Le soleil sur la Tamise / à Londres / (Brouillard) / 1903
  • inscription: stretcher bar, blue chalk: 9330
  • inscription: stretcher bar, graphite: M29[?] / 128[?] / 6P.#2[?]
  • inscription: stretcher bar, blue chalk: Box / 4
Provenance
Claude Monet, sold; [to Bernheim-Jeune and Durand-Ruel, Paris, December 1920], transferred; to [Durand-Ruel, New York, 1923], sold; to Mrs. Henry C. Lyman (Elizabeth), January 1928, gift; to Fogg Art Museum, 1979.
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Gift of Mrs. Henry Lyman
Accession Year
1979
Object Number
1979.329
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.
Descriptions

Label Text: Ancient to Modern , written 2012
From 1899 to 1901 Monet visited London three times for a combined length of over seven months. He rented the same room on the sixth floor of the Savoy Hotel on the Victoria Embankment and painted the view from his window of south London and the river Thames. The resultant works—over a hundred paintings and twenty pastels—formed the largest series he had produced to that date. Monet included this oil at his 1904 exhibition at the Galerie Durand-Ruel, titled Views of the Thames in London. René Gimpel, a prominent art dealer in Paris, visited Monet at his home fourteen years later and quoted him in his diary as having said, “I adore London; it’s a mass, a whole, and it’s so simple. But what I love more than anything in London is the fog.”

Publication History

Galeries Durand-Ruel, Claude Monet: Vues de la Tamise a Londres (1902-1904), exh. cat. (Paris, 1904), p. 9, cat. no. 7

Gustave Geffroy, Claude Monet, sa vie et son oeuvre, G. Crès et Cie (Paris, France, 1924), p. 310

Daniel Wildenstein, Claude Monet: Biographie et Catalogue Raisonné, La Bibliothèque des Arts (Lausanne, Switzerland, 1974 - 1991), vol. IV, p. 168, cat. no. 1554

Caroline A. Jones, Modern Art at Harvard: The Formation of the Nineteenth- and Twentieth-Century Collections of the Harvard University Art Museums (New York, NY and Cambridge, MA, Harvard University Art Museums and Abbeville Press, 1985). With an essay by John Coolidge and a preface by John M. Rosenfield. To accompany the inaugural exhibition at the Sackler Museum, Oct 21 1985 - Jan 5 1986, p. 6, fig. 1, ill. (color)

Jean C. Harris and Stephen Kern, Lasting Impressions: French and American Impressionism from New England Museums, exh. cat., Museum of Fine Arts, Boston (Springfield, MA, 1988), p. 19, cat. no. 11, repr.

Grace Seiberling, Monet in London, exh. cat., High Museum of Art and University of Washington Press (Seattle, 1988)

Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990)

Eric Shanes, Impressionist London, Abbeville Press (New York, NY, 1994), p. 130-131, no. 105, repr. p. 130

Katharine A. Lochnan, Turner Whistler Monet: Impressionist Visions, exh. cat., Art Gallery of Ontario (Toronto, Ontario, 2004), no. 73, repr. in color

Claude Monet 1840-1926, exh. cat., Réunion des Musées Nationaux / Musée d'Orsay (Paris, 2010), cat. no. 137, repr., p. 266, checklist p. 369

Greg Stone, Artful Business: 50 Lessons from Creative Geniuses (Boston, 2016), p. 30, ill. (color)

Eight Art Events to get to this Month, Apollo (January 10, 2017), online feature, https://www.apollo-magazine.com/top-art-shows-january-2017, accessed May 5, 2017, repr.

Ulf Küster, ed., Monet: Light, Shadow, and Reflection, exh. cat., Fondation Beyeler (Basel, 2017), cat. no. 124, repr. p. 124

Exhibition History

Claude Monet, Vues de la Tamise à Londres, 1902-1904, Durand-Ruel Paris, 05/09/1904 - 06/04/1904

Exhibition of Paintings by Claude Monet, Durand-Ruel [New York], 01/04/1922 - 01/21/1922

Modern Art at Harvard, Bunkamura Museum of Art, Tokyo, 07/31/1999 - 09/26/1999; Takamatsu City Museum of Art, Kagawa, 10/09/1999 - 11/14/1999; Matsuzakaya Art Museum, Nagoya, 12/02/1999 - 12/27/1999; Oita City Museum, Oita, 01/06/2000 - 02/06/2000; Museum of Modern Art, Ibaraki, Ibaraki, 02/11/2000 - 03/26/2000

Turner, Whistler, Monet, Art Gallery of Ontario, Toronto, 06/12/2004 - 09/12/2004; Grand Palais, Paris, 10/16/2004 - 01/16/2005; Tate Gallery, London, 02/12/2005 - 05/15/2005

Claude Monet 1840-1926, Galeries Nationales du Grand Palais, Paris, 09/22/2010 - 01/24/2011

Ancient to Modern, Harvard Art Museums, Cambridge, 01/31/2012 - 06/01/2013

32Q: 2700 Impressionism, Harvard Art Museums, Cambridge, 11/01/2014 - 10/11/2016; Harvard Art Museums, Cambridge, 07/14/2017

Monet: Light, Shadow, and Reflection , Fondation Beyeler, Riehen / Basel, 01/22/2017 - 05/28/2017

Subjects and Contexts

Google Art Project

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu