The breadth of Monet's ambition and scope was only matched by his love of travel – always seeking out new lands, homes, and subjects for his vast, life-long experiment with the changing impressions of light on the canvas.
After establishing his family home at Giverny and beginning the creation of his famous garden, Monet traveled outside of France to seek new motifs and thematic subjects. First escaping the raging Franco-Prussian War by fleeing to London with his mistress in 1870, Monet was captivated by the smog over the Thames, as well as the atmospheric coast of Normandy, and the dramatic luminance of the Mediterranean. His San Giorgio Maggiore at Dusk – also known as Twilight Venice – seascape was painted in 1908 in Venice during a road-trip with his wife, Alice. Monet created this impressionistic reproduction from sitting at the Hotel Brittania on the Palazzo Barbaro. The view across the bay is of the spectacular San Giorgio Maggiore, a church situated on an island.
San Giorgio Maggiore at Dusk was painted during a time when Monet began to lose his eyesight from grey cataracts. The unfortunate affliction that plagued many artists seemed to have paradoxically matched with Monet's vision and with his 'impressions' which characterized his life's work. Monet encouraged his friends and acquaintances to see the world as a spattering of light, strokes of color forming a whole. San Giorgio Maggiore at Dusk is a powerful and paradoxical symbiosis of an artist losing his sight but consistently tuning his experience of light and vision.
Monet's Venice sunset is drenched in the vibrancy of blues, yellows, and reds, with only the broadest of hints of detail or shape. His impressionistic reproductions are aligned more to sensory experiences than visual events. The Impressionist froze the perfect moment of the twilight, creating a rainbow-colored sky and reflecting the same colors, plus reflexes of purple, on the water. The viewer sees the church against the light, meaning it is naturally dark, but not pure black. Monet most likely mixed all of the colors of his palette to create a darkly toned church and the shadow it casts on the water – resulting in a dark, warm brown. He highlighted the architectural figure with vibrant strokes of purple. The brush strokes packed with pure color seem to mix on the surface of the canvas itself.
Important Notes About Your Painting:
If you have any request to alter your reproduction of San Giorgio Maggiore At Dusk, you must email us after placing your order and we'll have an artist contact you. If you have another image of San Giorgio Maggiore At Dusk that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.