À propos de l’œuvre
Le Pont de Charing-Cross, brouillard, par Claude Monet
Claude Monet · 1902 · the Art Gallery of Ontario version
Charing Cross Bridge, foghand painted reproduction
The bridge passes through a yellow-green mist where the bank and the sky merge; on the right, Parliament floats like a cold silhouette, while vertical reflections keep the Thames moving.
Look at the work
A yellow light transforms the bridge into a horizontal appearance
Charing Cross Bridge cuts the canvas slightly below the middle. Its piles are visible, but the deck blends into the same yellows, greens and blues as the air. The large Parliament Tower appears to the right, far behind the bridge, with edges so soft that it appears to recede into the steam.
The foreground is constructed by long vertical touches which descend from the bridge. These reflections contrast with the horizontal of the structure and give depth to the river. No pure black is necessary: even the darkest areas remain crossed by blue, green and purple.
The yellow atmosphere does not erase space: it unites the bridge, the Parliament and the Thames while leaving each plane with a different density.
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.
The bridge as a large light bar
Its line crosses almost the entire width without becoming rigid. Darker batteries introduce a regular rhythm and allow distance measurement.
Parliament pushed back to the bottom
The right tower is vertical, but its cool colors and open contours keep it away. It serves as a counterpoint to the very horizontal bridge.
Vertical reflections under the mist
Under the apron, the traces descend into the water in green, blue and purple. They give movement to a scene whose monuments appear suspended.
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 proper view measures 984 × 781 px and the detail 650 × 560 px, without enlargement. The third image is a real photograph of the work framed at the McNay Art Museum, prepared in WebP of 5000 × 3333 px.
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.
The Don Ethel and Milton Harris of 1990
The Art Gallery of Ontario preserves this oil on canvas under number 90/161. It measures 73 × 92 cm and its current frame measures 103.2 × 121.9 cm.
The Wildenstein 1541 version
The inventory, the format and the dominant yellow-green allow us to distinguish this canvas from the numerous views of Charing Cross painted by Monet around 1900.
Presented at McNay in 2021
The hanging photograph shows the AGO's work in its frame during the Monet and Whistler in London presentation at the McNay Art Museum in San Antonio.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The dominant yellow-green without losing the underlying blues
- The bridge line is flexible but continuous
- Vertical reflections of unequal length
- Parliament distanced by color rather than by design
Work sheet
| Title | Charing Cross Bridge, fog |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1902 |
| Original technique | Oil on canvas |
| Dimensions | 73 × 92 cm |
| Orientation | Horizontal |
| Conservation | Art Gallery of Ontario, Toronto, Canada |
| Inventory | 90/161 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
The gray yellow, sea green and smoky blue palette illuminates an interior without producing a harsh contrast. It goes well with light woods, brass, off-white, sage green and warm gray.
