À propos de l’œuvre
Le pont de Waterloo, effet de soleil dans la brume, par Claude Monet
Claude Monet · circa 1900 · Caracas · Wildenstein 1577
Waterloo Bridge, sun in the misthand painted reproduction
The bridge emerges from a purple mist under an almost dazzling white and yellow light. The arches follow one another like cold shadows, while the Thames disperses the sun in small touches of silver, blue and pink.
Look at the work
The sun erases the city while revealing the rhythm of the arches
The apron cuts the canvas above the center. Its blue-purple piles become sharper in the middle, then dissolve towards the edges. Behind them, the industrial bank is reduced to a few vertical chimneys and clouds of smoke mixed with the sky.
The bright fireplace is placed above the bridge, slightly to the right. Its clarity descends over the water without forming a disc or a regular column: it fragments into warm whites, pale yellow and pink, interrupted by deeper blues near the foreground.
The strength of this version lies in a precise contradiction: the sun is intense, but no area becomes harsh, because each light remains crossed by the mist.
Composition, touch and light
What Monet builds behind the impression of snapshot
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
A series of arches of varying density
The central arches are a little darker than those at the ends. This gradation gives the bridge its length without resorting to a continuous contour.
A solar fireplace without uniform white
The light is composed of off-white, yellow, pink and very pale blue. Keeping it nuanced is essential to avoid a bright hole without material.
Silver keys that build water
The light flashes are separated by purple and blue passages. Their irregularity suggests the movements of the Thames and differentiates the reflection from the sky.
Details and visual documents
Observe the material and the exact version
The additional images show the difficult-to-read passages in the full view and, where it exists, the actual appearance of the work at the museum.
The best documented exact view available measures 756 × 497 px; details of 600 × 260 px and 600 × 230 px are direct cropping. No files have been enlarged; all three images are real WebPs.
Documented benchmarks
Three pieces of information specific to this work
These facts concern this precise version and are verified from the notice of the institution which keeps it.
Waterloo Bridge, sun effect in the mist, W1577
The canvas measures approximately 65 × 92 cm and belongs to the London group dedicated to the Waterloo Bridge. The Wildenstein catalog raisonné gives it the number 1577.
A public work preserved in Caracas
This version is part of the collection of the Museum of Contemporary Art of Caracas Armando Reverón, attached to the Fundacion Museos Nacionales of Venezuela.
The same architecture under changing atmospheres
From the Savoy Hotel, Monet studies Waterloo Bridge at different times. He is not looking for a fixed topographical view: the bridge becomes an instrument for measuring air density and light color.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The exact reference Wildenstein 1577
- The gradation of the arches from the center towards the edges
- The sun shaded with yellow, pink and off-white
- Shards of water separated by purple blues
Work sheet
| Title | Waterloo Bridge, sun in the mist |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | Around 1900 |
| Original technique | Oil on canvas |
| Dimensions | 65 × 92 cm |
| Orientation | Horizontal |
| Conservation | Museum of Contemporary Art of Caracas Armando Reveron, Caracas, Venezuela |
| Inventory | Wildenstein 1577 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
The dominant lavender blue, enhanced with pale yellow and pink, brings soft light to a contemporary or classic interior. The horizontal format matches ivory, bluish gray, mineral mauve or light wood walls.
