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1:
Turner's Legacy
2: From Realism to the 'Impression'
3: Whistler's 'Nocturnes'
4: Painting in Series
5: Turner and the Thames
6: Return to the Thames
7: Venice
Room 7: Turner, Whistler and Monet in Venice
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Room 7: Turner Whistler and Monet in Venice
Tate Photography
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Monet was sixty-eight when he discovered the enchantments of Venice;
once again, he was following in the footsteps of Turner and Whistler.
Turner was attracted to Venice by its famous painters,
and its literary and historical associations. But perhaps more important
were the beauties of the city itself and its celebrated light effects.
His three visits resulted in an astonishing array of paintings and
watercolours, produced mainly in his fifties and sixties. Though
often radical in their handling of paint, the oils still managed
to find buyers, unlike so much of his late work which the critics
ridiculed.
Whistler sought refuge in Venice in 1879, broken by
the disastrous effects of his lawsuit against Ruskin. He stayed
for over a year, producing around a hundred pastels, more than fifty
etchings and a few oils. He explored widely: 'I have learned to
know a Venice in Venice that the others never seem to have perceived'.
Monet's first glimpse of the city left him 'overcome
with admiration'. For over two months he continued the struggle
to paint architecture, light and water he'd begun earlier on the
Thames. Seduced by the 'floating city', he was once again fascinated
by a landscape shrouded in mist.
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View
in Tate Collection