The Wildenstein 1555 version
The Santa Barbara Museum of Art documents this painting under number 1968.20.7: oil on canvas from 1900, 65.4 × 92.7 cm, listed Wildenstein 1555.
Canvas reproduction
The format automatically adapts to the original artwork.
Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · 1900 · Santa Barbara · W1555
Waterloo Bridge passes through a blue-green light where the chimneys and the south bank become silhouettes. In the foreground, two small boats stand out in an area of golden reflections. This 65.4 × 92.7 cm oil on canvas is kept in Santa Barbara under number 1968.20.7.

Look at the work
The bridge occupies the upper half of the composition and leaves plenty of room for the river. Its arches are darker than the sky, but their outline is lost in the mist. Three vertical chimneys and an industrial building on the right provide a discreet framework in the background.
The brightest area is not the sky: it sparkles on the water, in front of the bridge, in small touches of cream, yellow and pink. Two dark boats pass through this reflection. Their tiny presence makes you feel the expanse of the Thames and the height of the viewpoint.
In W1555, the bridge is not the bright center: it retains the mist while the sun shines on the river.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Santa Barbara Museum of Art documents this painting under number 1968.20.7: oil on canvas from 1900, 65.4 × 92.7 cm, listed Wildenstein 1555.
The museum notice describes the factory fumes made opalescent by the morning fog. Monet watches the bridge downstream from his room at the Savoy Hotel.
The bridge remains recognizable, but the stone, water, smoke and sky share the same greens, blues and purples. This continuity announces the growing abstraction of late works.
Reference image
Only one image is used: the official IIIF scan of the Santa Barbara Museum of Art, converted into a real WebP of 1,481 × 1,050 px at its native resolution.
The large area of water must be preserved. Going down or enlarging the bridge would remove the space needed for boats and the light reflection in the foreground.
The yellows and roses remain concentrated on the Thames. They should shine without turning the whole scene into a sunset.
Chimneys are just muffled verticals. Their edges mix with the sky so that the smoke and architecture belong to the same atmosphere.
Documented benchmarks
The official notice fixes the data for this version: 1900, oil on canvas, 65.4 × 92.7 cm, Santa Barbara Museum of Art 1968.20.7 and Wildenstein 1555.
The painting entered the museum through the bequest of Katharine Dexter McCormick, in memory of her husband Stanley McCormick.
Monet precisely chooses the effects where natural and industrial phenomena mingle, to the point of making the bridge almost immaterial.
The 65.4 × 92.7 cm format, the two boats in the reflection and the dark building on the right distinguish this version from the more panoramic Waterloo Bridges.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Waterloo Bridge W1555 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1900 |
| Original technique | Oil on canvas |
| Dimensions | 65.4 × 92.7 cm |
| Orientation | Horizontal |
| Conservation | Santa Barbara Museum of Art, Santa Barbara, United States |
| Inventory | 1968.20.7 · Wildenstein 1555 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Smoky greens, blues and cream highlights work well in a contemporary living room, office or bedroom. Medium wood, warm gray and a few touches of brass take back the light without weighing down the fog.
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