One of the most avant-garde aspects of the Impressionists was their choice of subject matter, which frequently included scenes derived from modern, industrial Paris, from iron bridges to exhibition halls to train sheds. The train station at Saint-Lazare would have been a familiar, meaningful sight to Claude Monet in the 1870s. The terminal linked Paris to Normandy, where the artist developed his technique of painting outdoors in the 1860s. It was also the point of departure for the towns and villages west and north of Paris that the Impressionists frequently visited. Monet completed eight of his twelve known paintings of the Gare Saint-Lazare in time for the third Impressionist exhibition, in 1877, probably displaying them in the same gallery.<\/p>\n
Monet chose to focus his attention here on the glass-and-iron train shed, where he found an appealing combination of arti\ufb01 cial and natural effects\u2014the rising steam of locomotives trapped within the structure and the daylight penetrating large, glazed sections of the roof, for instance. Monet\u2019s depictions of the station inaugurated what was to become for him an established pattern of painting a speci\ufb01c motif repeatedly in order to capture subtle and temporal atmospheric changes, as in his famous series of stacks of wheat<\/a>. But the Saint-Lazare paintings also represented his last attempt to capture urban life: from this point on in his career, Monet largely devoted himself to landscapes.<\/p>\n","short_description":"The Impressionists frequently paid tribute to the modern aspects of Paris, depicting scenes of grand boulevards and modern constructions. Monet made 12 paintings of the Gare Saint-Lazare. Here, he focused on the glass-and-iron train shed, where he found an appealing combination of artificial and natural effects: the rising steam of locomotives trapped within the structure and daylight penetrating the large, glazed sections of the roof.","dimensions":"60.3 \u00d7 80.2 cm (23 3\/4 \u00d7 31 1\/2 in.); Framed: 80.7 \u00d7 100.4 \u00d7 10.2 cm (31 3\/4 \u00d7 39 1\/2 \u00d7 4 in.)","dimensions_detail":[{"depth":null,"width":80,"height":60,"diameter":null,"clarification":null},{"depth":10,"width":100,"height":80,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Claude Monet 77","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":" Wildenstein, Claude Monet, biographie et catalogue raisonn\u00e9, 1979 440<\/p>","publication_history":"Catalogue de la 3e exposition de peinture, exh. cat. (E. Capiomont et V. Renault, 1877), p. 9, cat. 97. \n\nA. P[othey], \u201cBeaux arts,\u201d Le petit parisien, Apr. 7, 1877, p. 2. \n\n\u201cExposition des impressionnistes: 6, rue Le Peletier; 6,\u201d La petite r\u00e9publique fran\u00e7aise Apr. 10, 1877, p. 2. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews(Fine Arts Museums of San Francisco\/University of Washington Press, 1996), p. 176.\n\nErnest Fillonneau, \u201cLes impessionnistes,\u201d Moniteur des arts, Apr. 20, 1877, p. 1.\n\nCharles Bigot, \u201cCauserie artistique. L\u2019exposition des \u2018impressionnistes,\u2019\u201d La revue politique et litt\u00e9raire, Apr. 28, 1877, p. 1047.\n\nGustave Geffroy, \u201cSalon de 1887. Hors du Salon: Claude Monet,\u201d La justice, pt. 2, June 2, 1887, p. 1.\n\nGalerie Georges Petit, Claude Monet\u2014A. Rodin, exh. cat. (Imp. de l\u2019Art, 1889), p. 31, cat. 33. \n\nJ. A., \u201cBeaux-Arts. Exposition de la galerie Georges Petit,\u201d Art et critique 5 (June 29, 1889), p. 76.\n\nGustave Geffroy, \u201cHistoire de l\u2019impressionnisme,\u201d La vie artistique 3, 2 (1894), p. 68. \n\nAndr\u00e9 Mellerio, L\u2019exposition de 1900 et l\u2019impressionnisme (H. Floury, 1900), p. 20.\n\nLudovic Baschet, ed., Catalogue officiel illustr\u00e9 de l\u2019Exposition centennale de l\u2019art fran\u00e7ais de 1800 \u00e0 1889, exh. cat. (Lemercier, 1900), p. 211, cat. 484. \n\nOctave Maus, Exposition des peintres impressionnistes, exh. cat. (Libre Esth\u00e9tique, 1904), p. 39, cat. 98.\n\nArt Institute of Chicago, General Catalogue of Paintings Sculpture and Other Objects in the Museum (Art Institute of Chicago, 1914), p. 211, cat. 2138.\n\nGustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Cr\u00e8s, 1922) pp. 92; 118; opp. p. 136 (ill.); 272. \n\nCamille Mauclair, Claude Monet (F. Rieder, 1924), pp. 61; pl. 20. Translated by J. Lewis May as Claude Monet (Dodd, Mead, 1924), pp. 5; pl. 20. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2140. \n\nM. C., \u201cMonets in the Art Institute,\u201d Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), p. 19 (ill.).\n\nFlorent Fels, Claude Monet, Les peintres fran\u00e7ais nouveaux 22 (Gallimard, 1925), p. 45 (ill.).\n\nMadeleine Octave Maus, \u201cExposition des peintres impressionnistes,\u201d in Trente ann\u00e9es de lutte pour l\u2019art, 1884\u20131914 (L\u2019Oiseau Bleu, 1926), p. 323. \n\nLouis R\u00e9au, L\u2019art fran\u00e7ais aux \u00c9tats-Unis: Ouvrage illustr\u00e9 de vingt-quatre planches hors texte (Henri Laurens, 1926), p. 163.\n\nL\u00e9on Werth, Claude Monet (G. Cr\u00e8s, 1928), pl. 26.\n\nXenia Lathom, Claude Monet (Philip Allan, 1931), pl. 16 (ill.).\n\nAnthony Bertram, Claude Monet, World\u2019s Masters (Studio\/William Edwin Rudge, 1931), pl. 11.\n\nDaniel Catton Rich, \u201cThe Paintings of Martin A. Ryerson,\u201d Bulletin of the Art Institute of Chicago 27, 1 (Jan. 1933), pp. 9, 11 (ill.).\n\nArt Institute of Chicago, Catalogue of \u201cA Century of Progress\u201d: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 44, cat. 299.\n\nDaniel Catton Rich, \u201cFranz\u00f6sische Impressionisten im Art Institute zu Chicago,\u201d Pantheon: Monatsschrift f\u00fcr freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as \u201cFrench Impressionists in the Art Institute of Chicago,\u201d Pantheon\/Cicerone (Mar. 1933), p. 18.\n\nArt Institute of Chicago, Catalogue of \u201cA Century of Progress\u201d: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), pp. 37\u201338, cat. 219.\n\nMuseum of Fine Arts, Boston, Independent Painters of Nineteenth Century Paris, exh. cat. (Museum of Fine Arts, Boston, [1935]), p. 24, cat. 32.\n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 28. \n\nHans Tietze, Meisterwerke Europ\u00e4ischer Malerei in Amerika (Phaidon, 1935), pp. 289 (ill.); 344\u201345, no. 289.\n\nGeorge Slocombe, \u201cGiver of Light,\u201d Coronet (Mar. 1938), p. 20 (ill.).\n\nLionello Venturi, Les archives de l\u2019impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; M\u00e9moires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), pp. 260, 303.\n\nThomas Craven, ed., A Treasury of Art Masterpieces, From the Renaissance to the Present Day (Simon & Schuster, 1939), pp. 506\u201307, pl. 123.\n\nWalter Pach, Catalogue of European and American Paintings, 1500\u20131900: Masterpieces of Art, New York World\u2019s Fair, biographies and notes compiled by Christopher Lazare, with the assistance of Anne A. Wallis, Marion Haviland, and Simonetta de Vries, exh. cat. (Art Aid, [1940]), p. 223, cat. 322.\n\nAlfred M. Frankfurter, \u201c383 Masterpieces of Art: The World\u2019s Fair Exhibition of Paintings of Four Centuries Loaned from American Public and Private Collections,\u201d Art News, May 25, 1940, pp. 41 (ill.), 64.\n\nRegina Shoolman and Charles E. Slatkin, The Enjoyment of Art in America, with an introduction by George Harold Edgell (Lippincott, 1942), pp. 557; 609, pl. 537.\n\nHans Huth, \u201cImpressionism Comes to America,\u201d Gazette des beaux-arts 29 (1946), pp. 238, fig. 13; 239, n. 22; 240.\n\nOscar Reutersw\u00e4rd, Monet: En Konstn\u00e4rshistorik (Bonniers, 1948), opposite p. 104 (ill.); pp. 112, 281.\n\nGeorge Besson, Claude Monet (1840\u20131926), Collection les ma\u00eetres 32 (Braun, [1949]), pl. 34. \n\nKenneth Clark, Landscape into Art (John Murray, 1949), pl. 89; p. 102.\n\nDayton Art Institute, The Railroad in Painting, exh. cat. (Dayton Art Institute, 1949), cat. 50 (ill.).\n\nMassachusetts Institute of Technology, The Painter and the City, ed. Gyorgy Kepes, with the assistance of Jane M. Bagg, exh. cat. (Massachusetts Institute of Technology, 1950), (ill.).\n\nPhiladelphia Museum of Art, Diamond Jubilee Exhibtion: Masterpieces of Painting, exh. cat. (Philadelphia Museum of Art, 1950), cat. 70 (ill.).\n\nLionello Venturi, Impressionisti e Simbolisti: Da Manet a Lautrec (Del Turco, 1950), pp. 59; 211, fig. 56. Translated by Francis Steegmuller as Impressionists and Symbolists (Charles Scribner\u2019s Sons, 1950), pp. 61; fig. 56.\n\nLouis Zara, ed., Masterpieces, Home Collection of Great Art 1 (Ziff-Davis, 1950), p. 118 (ill.).\n\nArt Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), n.pag. (ill.).\n\nM. K. R., \u201cAn Exhibition for Paris,\u201d Art Institute of Chicago Quarterly 49, 2 (Apr. 1, 1955), pp. 28, 30.\n\nMus\u00e9e de l\u2019Orangerie, De David \u00e0 Toulouse-Lautrec: Chefs-d\u2019oeuvre des collections am\u00e9ricaines, exh. cat. (Mus\u00e9e de l\u2019Orangerie, 1955), pp. 60\u201361, cat. 42 and pl. 41; 129, pl. 41 and cat. 42. James Thrall Soby, \u201cForeword\/Introduction,\u201d in Mus\u00e9e de l\u2019Orangerie, De David \u00e0 Toulouse-Lautrec: Chefs-d\u2019oeuvre des collections am\u00e9ricaines, exh. cat. (Mus\u00e9e de l\u2019Orangerie, 1955), pp. 20, 29.\n\nArt Institute of Chicago, \u201cHomage to Claude Monet,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), pp. 21\u201322 (ill.).\n\nArt Institute of Chicago, \u201cCatalogue,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 33.\n\nDenis Rouart, Claude Monet, trans. James Emmons (Skira, 1958), p. 70.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 279 (ill.), 318\u201319. \n\nLeopold Reidemeister, Auf den Spuren der Maler der Ile de France: Topographische Beitr\u00e4ge zur Geschichte der franz\u00f6sischen Landschaftsmalerei von Corot bis zu den Fauves (Propyl\u00e4en, 1963), p. 114 (ill.).\n\nRemus Niculeseu, \u201cGeorges de Bellio, l\u2019ami des impressionnistes,\u201d Revue roumaine d\u2019histoire de l\u2019art 1, 2 (1964), pp. 215, 241, 250, 252, 253, 258, 264.\n\nHaus der Kunst M\u00fcnchen, Franz\u00f6sische Malerei des 19. Jahrhunderts: Von David bis C\u00e9zanne, with a preface by Germain Bazin, exh. cat. (Haus der Kunst M\u00fcnchen [1964]), pp. 416\u201317, cat. 191 (ill.).\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (Sept. 1966), pp. 201, fig. 31; 202.\n\nDaniel Wildenstein, \u201cClaude Monet,\u201d in Kindlers Malerei Lexikon, vol. 4 (Kindler, [1967]), pp. 464 (ill.), 470.\n\nMinneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800\u20131900, exh. cat. (Minneapolis Institute of Arts, 1969), pp. 18; 146\u201347, cat. 60 (ill.).\n\nRemus Niculescu, \u201cGeorges de Bellio, l\u2019ami des Impressionnistes (I),\u201d Paragone 247 (Sept. 1970), pp. 34, 40, 53. \n\nRemus Niculescu, \u201cGeorges de Bellio, l\u2019ami des Impressionnistes (II),\u201d Paragone 249 (Nov. 1970), pp. 47, n. 2; 62; 65\u201366. \n\nJohn Maxon, The Art Institute of Chicago (Abrams, 1970), p. 82 (ill.), 284. \n\nWildenstein and Company, \u201cOne Hundred Years of Impressionism\u201d: A Tribute to Durand-Ruel, with a preface by Florence Gould, exh. cat. (Wildenstein, 1970), pl. 37.\n\nArt Institute of Chicago, \u201cLecturer\u2019s Choice,\u201d Bulletin of the Art Institute of Chicago 67, 4 (Jul. \u2013Aug. 1973), p. 11.\n\nDonald E. Gordon, Modern Art Exhibitions, 1900\u20131916: Selected Catalogue Documentation, vol. 2 (Prestel, 1974), p. 90.\n\nDaniel Wildenstein, Claude Monet: Biographie et catalogue raisonn\u00e9, vol. 1, Peintures, 1840\u20131881 (Biblioth\u00e8que des Arts, 1974), pp. 84; 304; 305, cat. 440 (ill.); 447, pi\u00e8ces justificatives 60\u201363, 65, 68.\n\nGrace Seiberling, \u201cThe Evolution of an Impressionist,\u201d in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 27, 28.\n\nSusan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 96, cat. 42 (ill.).\n\nM. Therese Southgate, \u201cAbout the Cover,\u201d JAMA: The Journal of the American Medical Association 233, 3 (July 21, 1975), cover (ill.); p. 259 (ill.).\n\nGuy Hubbard and Mary J. Rouse, Art: Discovering and Creating (Benefic, 1977), p. 178 (ill.).\n\nArt Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 92\u201393, pl. 50.\n\nLuigina Rossi Bortolatto, L\u2019opera completa di Claude Monet: 1870\u20131889, Classici dell\u2019arte 63 (Rizzoli, 1978), pp. 97, cat. 140 (ill.); 98.\n\nRoger Terry Dunn, \u201cThe Monet-Rodin Exhibition at the Galerie Georges Petit in 1889\u201d (Ph.D. diss., Northwestern University, 1978), p. 247.\n\nDaniel Wildenstein, Claude Monet: Biographie et catalogue raisonn\u00e9, vol. 3, Peintures, 1887\u20131898 (Biblioth\u00e8que des Arts, 1979), p. 249, letter 986.\n\nJ. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionists Paintings (Crown, 1979), pp. 56, 57 (ill.).\n\nJ. Patrice Marandel, \u201cNew Installation of Earlier Paintings,\u201d Bulletin of the Art Institute of Chicago 73, 1 (Jan.\u2013Feb., 1979), p. 15 (ill.).\n\nRodolphe Walter, \u201cSaint-Lazare l\u2019impressionniste,\u201d L\u2019oeil 292 (Nov. 1979), pp. 52, 53.\n\nDiane Kelder, The Great Book of French Impressionism (Abbeville, 1980), p. 205 (ill.). \n\nDiane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 121, pl. 13.\n\nTheodore Reff, Manet and Modern Paris, exh. cat. (National Gallery of Art, Washington, D.C.\/Eastern, 1982), pl. 7 and cat. 14.\n\nRobert Gordon and Andrew Forge, Monet (Abrams, 1983), pp. 77 (ill.), 290.\n\nAndrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 365.\n\nH\u00e9l\u00e8ne Adh\u00e9mar, \u201cErnest Hosched\u00e9,\u201d in Aspects of Monet: A Symposium on the Artist\u2019s Life and Times, ed. John Rewald and Frances Weitzenhoffer (Abrams, 1984), pp. 69, n. 23; 70, n. 30.\n\nRichard R. Brettell, \u201cThe Impressionist Landscape and the Image of France,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), p. 48.\n\nSylvie Gache-Patin, \u201cThe Urban Landscape,\u201d in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 114; 116; 125, no. 32 (ill.); 126.\n\nCharles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 61 (ill.).\n\nRichard R. Brettell, \u201cLe paysage impressionniste et l\u2019image de la France,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), p. 39.\n\nSylvie Gache-Patin, \u201cLe paysage urbain,\u201d in R\u00e9union des Mus\u00e9es Nationaux, L\u2019impressionnisme et le paysage fran\u00e7ais, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1985), pp. 184; 188; 190\u201391; 196\u201397, no. 70 (ill.).\n\nJohn House, \u201cMonet and the Genesis of His Series,\u201d in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery\/NZI, 1985), pp. 12; 17, fig. 7.\n\nRichard H. Love, Theodore Earl Butler: Emergence from Monet\u2019s Shadow (Haase-Mumm, 1985), pl. 9.\n\nGuy Cogeval, Les ann\u00e9es post-impressionnistes (Nouvelles \u00c9ditions Fran\u00e7aises, 1986), p. 11, fig. 15.\n\nCharles S. Moffett, ed., The New Painting: Impressionism, 1874\u20131886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 205; 222\u201323, cat. 51 (ill.).\n\nRichard R. Brettell, \u201cThe \u2018First\u2019 Exhibition of Impressionist Painters,\u201d in The New Painting: Impressionism, 1874\u20131886, ed. Charles S. Moffett, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 189, 198.\n\nRichard R. Brettell, French Impressionists (Art Institute of Chicago\/Abrams, 1987), front cover (detail); pp. 42 (ill.), 43, 118, back cover (ill.).\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago\/New York Graphic Society Books\/Little, Brown, 1988), pp. 9, 59 (ill.), 167.\n\nClaire De Narbonne-Fontanieu, \u201cJourney through a Cultural Landscape,\u201d France Magazine 10 (Spring 1988), p. 20 (ill.).\n\nMus\u00e9e Rodin, Claude Monet\u2014Auguste Rodin: Centenaire de l\u2019exposition de 1889, exh. cat. (Mus\u00e9e Rodin, 1989), pp. 54, 79 (ill.).\n\nAnne Distel, Les collectionneurs des impressionnistes (Biblioth\u00e8que des Arts, 1989), p. 115. Translated by Barbara Perroud-Benson as Impressionism, The First Collectors, 1874\u20131886 (Abrams, 1990), p. 115.\n\nDavid Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism, exh. cat.(National Gallery, Washington, D.C.\/Yale University Press, 1990), pp. 166, pl. 163; 170\u201371.\n\nBernard L. Myers, Monet, Methods of the Masters (Brian Trodd, 1990), p. 67 (ill.).\n\nKarin Sagner-D\u00fcchting, Claude Monet, 1840\u20131926: Ein Fest f\u00fcr die Augen (Benedikt Taschen, 1990), pp. 95 (ill.), 96. Translated Karen Williams Claude Monet, 1840\u20131926: A Feast for the Eyes (Taschen, 2004), p. 95 (ill.), 96.\n\nNorma Broude, Impressionism: A Feminist Reading, The Gendering of Art, Science, and Nature in the Nineteenth Century (Rizzoli, 1991), pp. 74; 75; 108, pl. 30; 109, pl. 32 (detail).\n\nIngo F. Walther and Peter H. Feist, Malerei des Impressionismus, 1860\u20131920: Der Impressionismus in Frankreich, vol. 1 (Benedikt Taschen, 1992), pp. 152, 170 (ill.).\n\nSophie Fourny-Darg\u00e8re, Monet, Profils de l\u2019art (Ch\u00eane, 1992), pp. 82; 87, fig. 2.\n\nArt Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood and Teri J. Edelstein, entries written and compiled by Sally Ruth May (Art Institute of Chicago, 1993), p. 155 (ill.). \n\nArt Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago\/Abbeville, 1993), p. 70 (ill.).\n\nJeffrey Coven, Baudelaire\u2019s Voyages: The Poet and His Painters, exh. cat. (Heckscher Museum\/Little, Brown, 1993), p. 90, fig. 56; 170.\n\nArt Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), pp. 52, cat. 7; 53 (ill.).\n\nCharles F. Stuckey, \u201cChicago\u2019s Fortune: Patrons of Modern Paintings and The Art Institute of Chicago,\u201d in Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), p. 18.\n\nGeorge T. M. Shackelford, \u201cThe Age of Impressionism,\u201d in Emily Ballew Neff and George T. M. Shackelford, American Painters in the Age of Impressionism, exh. cat. (Museum of Fine Arts, Houston, 1994), pp. 19; 20, fig. 7.\n\nAndrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 22\u201324; 76, pl. 5; 106.\n\nCharles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840\u20131926, exh. cat. (Art Institute of Chicago\/Thames & Hudson, 1995), pp. 16, 73, cat. 50 (ill.); 202.\n\nLynn Federle Orr, \u201cMonet: An Introduction,\u201d in New Orleans Museum of Art and Fine Arts Museums of San Francisco, Monet: Late Paintings of Giverny from the Mus\u00e9e Marmottan, exh. cat. (New Orleans Museum of Art\/Fine Arts Museums of San Francisco\/Abrams, 1995), pp. 18; 19, fig. 5.\n\nRobert Rosenblum, \u201cImpressionismen, byen og det modern liv,\u201d in Impressionister i byen, ed. Anne-Birgitte Fonsmark and Mikael Wivel, exh. cat. (Ordrupgaard, 1996), pp. 16, fig. 5 and cat. 44; 18. Translated as \u201cImpressionism, the City and Modern Life,\u201d in Impressionists in Town, ed. Anne-Birgitte Fonsmark and Mikael Wivel, exh. cat. (Ordrupgaard, 1996), pp. 16, fig. 5 (cat. 44); 18.\n\nAnne-Birgitte Fonsmark and Mikael Wivel, eds., Impressionister i byen, exh. cat. (Ordrupgaard, 1996), p. 105, cat. 44. Translated as Impressionists in Town, exh. cat. (Ordrupgaard, 1996), p. 106, cat. 44.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), pp. 119, 134, 146, 173, 176.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886, Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), pp. 76, 94 (ill.).\n\nDaniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen\/Wildenstein Institute, 1996), pp. 125, 128.\n\nDaniel Wildenstein, Monet: Catalogue raisonn\u00e9\/Werkverzeichnis, vol. 2, Nos. 1\u2013968 (Taschen\/Wildenstein Institute, 1996), pp. 178, cat. 440 (ill.); 179\u201380.\n\nStephan Koja, Claude Monet, exh. cat. (\u00d6sterreichische Galerie, Belvedere, Vienna\/Prestel, 1996), pp. 67; 71, cat. 24 (ill.); 216. Translated by John Brownjohn as Claude Monet, exh. cat. (\u00d6sterreichische Galerie\/Prestel, 1996), pp. 67; 71, cat. 24 (ill.); 216.\n\nElisabeth West FitzHugh, ed., Artists\u2019 Pigments: A Handbook of Their History and Characteristics, vol. 3 (National Gallery of Art, Washington, D.C.\/Oxford University Press, 1997), pp. 286; 287, fig. 12.\n\nM. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), pp. 8\u20139 (ill.).\n\nMeyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), p. 104, fig 41.\n\nJuliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. cat. (National Gallery of Art, Washington, D.C.\/Yale University Press, 1998), frontispiece (detail); pp. 111; 112, fig. 99 (cat. 47); 188, n. 83; 199.\n\nJuliet Wilson-Bareau, Manet, Monet, la Gare Saint-Lazare, trans. Isabelle Taudi\u00e8re, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Yale University Press, 1998), frontispiece (detail); pp. 111; 112, fig. 99 (cat. 47); 189, n. 83.\n\nBrigitte B\u00e9ranger-Menand, \u201cLes huit expositions impressionnistes. Profil d\u2019un groupe: 1874\u20131886,\u201d in Alain Tapi\u00e9, Brigitte B\u00e9ranger-Menand, and Yona Beldimaw, Chemins de l\u2019impressionnisme:Normandie\u2013Paris,1860\u20131910, exh. cat. (Landesmuseum Joanneum, 1998), p. 26.\n\nEmily D. Bilski, Berlin Metropolis: Jews and the New Culture, 1890\u20131918, exh. cat. (University of California Press\/Jewish Museum, 1999), pp. 119; 120, fig. 101.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 1999), pp. 8, 54, 55 (ill.).\n\nSimonella Condemi and Andrew Forge, Claude Monet: La poesia della luce; Sette capolavori dell\u2019Art Institute di Chicago a Palazzo Pitti, exh. cat. (Giunti Gruppo, 1999), pp. 26, 27 (ill.), 28, 29 (detail).\n\nThomas McBurney, Artistic Greatness: A Comparative Exploration of Michelangelo, Beethoven, and Monet (Galde Press, 1999), p. 277 (ill.)\n\nGina Frese, Dow Chemical Portrayed, exh. cat. (Chemical Heritage Foundation, 2000), pp. 4, 5 (ill.).\n\nArt Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 2000), p. 54 (ill.).\n\nArt Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, commentaries by Debra N. Mancoff (Art Institute of Chicago\/Hudson Hills, 2000), pp. 183, 205 (ill.).\n\nRichard R. Brettell, Impression: Painting Quickly in France, 1860\u20131890, exh. cat. (Sterling and Francine Clark Art Institute\/Yale University Press, 2000), p. 136, n. 27.\n\nA. G. Kostenevich, Klod Mone [Claude Monet], exh. cat. (Khudozhnik i Kniga, 2001), pp. 62\u201365; cat. 17 (ill. and detail).\n\nRichard R. Brettell, \u201cMonet e Parigi,\u201d in Monet: I luoghi della pittura, ed. Marco Goldin, exh. cat. (Linea d\u2019Ombra, 2001), pp. 124, 125 (ill.).\n\nMarco Goldin, L\u2019impressionismo e l\u2019et\u00e0 di Van Gogh, exh. cat. (Linea d\u2019Ombra, 2002), p. 43 (ill.).\n\nRichard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 2 (Teaching Co., 2002), pp. 6, 16, 174.\n\nJudith Hayward, \u201cNature and Progress: Winslow Homer, His Critics and His Oils, 1880\u20131900\u201d (Ph.D. diss., Columbia University, 2003), pp. 172; 362; 385, ill. 48.\n\nMichel Laclotte, ed., The Art and Spirit of Paris, vol. 2 (Abbeville, 2003), p. 1049, fig. 6.127; 1052.\n\nRichard Thomson, \u201cMonet 1870\u20131890: Evoluzione, tradizione e decorazione,\u201d in Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, ed. Marco Goldin, exh. cat. (Linea d\u2019Ombra\/Museo di Santa Giulia, 2006), p. 261, n. 8.\n\nDavid L. Pike, Metropolis on the Styx: The Underworlds of Modern Urban Culture, 1800\u20132001 (Cornell University Press, 2007), pp. 221; 224, fig. 4.3.\n\nWildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 238, cat. 21 (ill.); 300\u2013301; 303.\n\nJoseph Baillio and Cora Michael, \u201cChronological and Pictorial Survey of the Life and Career of Claude Monet,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 166.\n\nJoseph Baillio and Cora Michael, \u201cHighlights of the Exhibition,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 194; 195 (detail).\n\nKelly Crow, \u201cFor Charity, Gallery Plays Museum,\u201d Wall Street Journal, May 25, 2007. http:\/\/online.wsj.com\/article\/SB118004588897613954.html (accessed Jan. 28, 2013).\n\nLance Esplund, \u201cA Whole New Light,\u201d New York Sun, May 17, 2007. http:\/\/www.nysun.com\/arts\/whole-new-light\/54648\/(accessed Jan. 28, 2013).\n\nPaul Hayes Tucker, \u201cSome Notes on Monet\u2019s Practice,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 74, fig. 12; 75.\n\nRichard Kendall, \u201cClaude Monet, New York,\u201d Burlington Magazine (July 2007), p. 511.\n\nRoberta Smith, \u201cMonet Arrives and Ripens,\u201d New York Times, May 4, 2007, p. E28.\n\nEric M. Zafran, \u201cMonet in America,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 113.\n\nGloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago\/Kimbell Art Museum, 2008), pp. 19 (ill.); 54 (detail); 55, cat. 17 (ill.); 57. Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago\/Yale University Press, 2008), pp. 19 (ill.); 54 (detail); 55, cat. 17 (ill.); 57. \n\nJames H. Rubin, Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (University of California Press, 2008), p. 116.\n\nIan Kennedy, \u201cImpressionism and Post-Impressionism,\u201d in Ian Kennedy and Julian Treuherz, The Railway: Art in the Age of Steam, exh. cat. (Nelson-Atkins Museum of Art\/Walker Art Gallery, Liverpool\/Yale University Press, 2008), p. 159, fig. 56.\n\nJonathan Mane-Wheoki, \u201cMonet\u2019s Impressions of the Industrial Environment,\u201d in George T. M. Shackelford, Monet and the Impressionists, exh. cat. (Art Gallery of New South Wales\/Yale University Press, 2008), p. 149, fig. 33.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago\/Yale University Press, 2009), pp. 9, 54, 55 (ill.).\n\nClaudia Beltramo Ceppi, Monet: Il tempo delle ninfee, exh. cat. (Palazzo Reale\/Giunti, 2009), pp. 33, fig. 18; 37.\n\nBrian Dudley Barrett, Artist on the Edge: The Rise of Coastal Artists\u2019 Colonies, 1880\u20131920, with Particular Reference to Artists\u2019 Communities around the North Sea (Amsterdam University Press, 2010), p. 43 (ill.).\n\nMary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist\u2019s Life (University of Chicago Press, 2010), pp. 189; 190, fig. 13.1.\n\nS\u00e9gol\u00e8ne Le Men, Monet (Citadelles & Mazenod, 2010), pp. 19; 194; 216; 217, ill. 172; 218.\n\nR\u00e9union des Mus\u00e9es Nationaux, Claude Monet, 1840\u20131926, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Mus\u00e9e d\u2019Orsay, 2010), p. 153, cat. 44 (ill.).\n\nJohn House, \u201cLe sujet chez Monet,\u201d in R\u00e9union des Mus\u00e9es Nationaux, Claude Monet, 1840\u20131926, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Mus\u00e9e d\u2019Orsay, 2010), pp. 23, 27.\n\nPaul Stelkens, \u201cDie Hensmann\u2013Villa in Grossk\u00f6nigsdorf,\u201d in Egon Heeg, Axel Kurth, and Peter Schreiner, eds., K\u00f6nigsdorf im Rheinland, Pulheimer Beitr\u00e4ge zur Geschichte, Sonderver\u00f6ffentlichung 34 (Verein f\u00fcr Geschichte, 2011), pp. 425, fig. 32; 427; 478, n. 28.\n\n\u201cCat. 16: Arrival of the Normandy Train, Gare Saint-Lazare, 1877\u201d in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https:\/\/publications.artic.edu\/monet\/reader\/paintingsanddrawings\/section\/135470<\/a>.\n\nCaroline Shields, Impressionism in the Age of Industry, exh. cat. (Friesens, 2019), 26-29, 50-54, 122-123, 240.\n\nGloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 16, 24, 26, 32 fig. 11, 52 (detail ill.), 53 cat. 18, 131.\n\nMichel Draguet and Michelangelo van Meerten, Tracks to modernity, exh. cat. (Brussels: Royal Museum of Fine Arts of Belgium; Brussels: EUROPALIA Arts Festival; Veurne: Hannibal Books\n, 2021), 51 cat. 42, 230.\n\nAndr\u00e8 Dombrowski, Monet's Minutes: Impressionism and the Industrialization of Time (New Haven and London: Yale University Press, 2023), 126, 127 fig. 73, 128-29.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 74 (ill.).\n\nAdriano Pedrosa and Fernando Oliva, eds., Monet's Ecology, exh. cat. (S\u00e3o Paulo: Museu de Arte de S\u00e3o Paulo Assis Chateaubriand, 2005), 36, 54\u20135 fig. 35, 56, 58, 238.","exhibition_history":"Paris, 6, rue Le Peletier, 3e exposition de peinture [third Impressionist exhibition], Apr. 1877, cat. 97, as Arriv\u00e9e du train de Normandie, gare St-Lazare, appartient \u00e0 M. H . . . .\n\nParis, Galerie Georges Petit, 6e exposition international e de peinture et de sculpture, May 8\u2013June 8, 1887, no cat. no. \n\nParis, Galerie Georges Petit, Claude Monet\u2014A. Rodin, June 21\u2013Sept. 21, 1889, cat. 33, as Gare Saint-Lazare. 1877. Appartient \u00e0 M. de Bellio. \n\nParis, Grand Palais des Champs-\u00c9lys\u00e9es, Exposition Universelle de 1900, L\u2019exposition centennale de l\u2019art fran\u00e7ais de 1800 a 1889, May 1\u2013Nov. 12, 1900, cat. 484, as Le Train de Normandie (\u00e0 M. Alexandre Bernheim jeune [sic]). \n\nBrussels, Libre Esth\u00e9tique, Exposition des peintres impressionnistes, Feb. 25\u2013Mar. 29, 1904, cat. 98, as La Gare Saint-Lazare. Exposition centennale, 1900. Appartient \u00e0 MM. J. et G. Bernheim jeune [sic].\n\nNew York, Durand-Ruel, Monet, Dec. 2\u201323, 1911, cat. 8. \n\nArt Institute of Chicago, \u201cA Century of Progress\u201d: Loan Exhibition of Paintings and Sculpture, May 23\u2013Nov. 1, 1933, cat. 299.\n\nArt Institute of Chicago, \u201cA Century of Progress\u201d: Loan Exhibition of Paintings and Sculpture for 1934, June 1\u2013Oct. 31, 1934, cat. 219. \n\nBoston, Museum of Fine Arts, Independent Painters of Nineteenth Century Paris, Mar. 15\u2013Apr. 28, 1935, cat. 32.\n\nNew York World\u2019s Fair, European & American Paintings, 1500\u20131900: Masterpieces of Art, May\u2013Oct. 1940, cat. 322.\n\nDayton (Ohio) Art Institute, The Railroad in Painting: An Exhibition of Paintings Shown at the Dayton Art Institute, Apr. 19\u2013May 22, 1949, cat. 50 (ill.).\n\nCambridge, Massachusetts Institute of Technology, Charles Hayden Memorial Library, The Painter and the City, May 8\u2013June 15, 1950, no cat. no. (ill.).\n\nPhiladelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, Nov. 3, 1950\u2013Feb. 11, 1951, cat. 70 (ill.). \n\nParis, Mus\u00e9e de l\u2019Orangerie, De David \u00e0 Toulouse-Lautrec: Chefs-d\u2019oeuvres des collections am\u00e9ricaines, Apr. 20\u2013July 3, 1955, cat. 42 (ill.). \n\nArt Institute of Chicago, The Paintings of Claude Monet, Apr. 1\u2013June 15, 1957, no cat. no. \n\nMunich, Haus der Kunst M\u00fcnchen, Franz\u00f6sische Malerei des 19. Jahrhunderts: Von David bis C\u00e9zanne, Oct. 7, 1964\u2013Jan. 6, 1965, cat. 191 (ill.).\n\nMinneapolis Institute of Arts, The Past Rediscovered: French Painting, 1800\u20131900, July 3\u2013Sept. 7, 1969, cat. 60 (ill.).\n\nNew York, Wildenstein and Company, \u201cOne Hundred Years of Impressionism:\u201d A Tribute to Durand-Ruel, Apr. 2\u2013May 9, 1970, cat. 37 (ill.).\n\nArt Institute of Chicago, Paintings by Monet, Mar. 15\u2013May 11, 1975, cat. 42 (ill.). \n\nArt Institute of Chicago, Art at the Time of the Centennial, June 19\u2013Aug. 8, 1976, no cat. \n\nWashington, D.C., National Gallery of Art, Manet and Modern Paris, Dec. 5, 1982\u2013Mar. 6, 1983, cat. 14 (ill.).\n\nLos Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28\u2013Sept. 16, 1984, cat. 32 (ill.); Art Institute of Chicago, Oct. 23, 1984\u2013Jan. 6, 1985; Paris, Galeries Nationales, Grand Palais, as L\u2019impressionnisme et le paysage fran\u00e7ais, Feb. 4\u2013Apr. 22, 1985, cat. 70 (ill.).\n\nWashington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874\u20131886, Jan. 17\u2013Apr. 6, 1986, cat. 51 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. 19\u2013July 6, 1986.\n\nArt Institute of Chicago, Chicago\u2019s Dream, a World\u2019s Treasure: The Art Institute of Chicago, 1893\u20131993, Nov. 1, 1993\u2013Jan. 9, 1994, not in cat. \n\nNagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20\u2013May 29, 1994, cat. 7 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10\u2013July 24, 1994; Yokohama Museum of Art, Aug. 6\u2013Sept. 25, 1994.\n\nArt Institute of Chicago, Claude Monet, 1840\u20131926, July 22\u2013Nov. 26, 1995, cat. 50 (ill.).\n\nVienna, \u00d6sterreichische Galerie, Claude Monet, Mar. 14\u2013June 16, 1996, cat. 24 (ill.).\n\nCopenhagen, Ordrupgaard, Impressionister i byen, Sept. 6\u2013Dec. 1, 1996, cat. 44 (ill.).\n\nParis, Mus\u00e9e d\u2019Orsay, Manet, Monet and the Gare Saint-Lazare, Feb. 9\u2013May 17, 1998, cat. 47 (ill.); Washington, D.C., National Gallery of Art, June 14\u2013Sept. 20, 1998.\n\nFlorence, Sala Bianca di Palazzo Pitti, Claude Monet: La poesia della luce; Sette capolavori dell\u2019Art Institute di Chicago a Palazzo Pitti, June 2\u2013Aug. 29, 1999, no cat. no. (ill.).\n\nMoscow, State Pushkin Museum of Fine Arts, Klod Mone [Claude Monet], Nov. 26, 2001\u2013Feb. 21, 2002, cat. 17 (ill.), Saint Petersburg, State Hermitage Museum, May 1\u201315, 2002. \n\nNew York, Wildenstein and Company, Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, April 27\u2013June 15, 2007, cat. 21 (ill.).\n\nFort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 17 (ill.).\n\nParis, Galeries Nationales, Grand Palais, Claude Monet, 1840\u20131926, Sept. 22, 2010\u2013Jan. 24, 2011, cat. 44 (ill.).\n\nMunich, St\u00e4del Museum, Monet and the Birth of Impressionism, March 11-June 21, 2015, cat. 85.\n\nArt Institute of Chicago, John Singer Sargent and Chicago's Gilded Age, June 27-Septembet 30, 2018.\n\nToronto, Art Gallery of Ontario, Impressionism in the Age of Industry, February 16 - May 5 2019\n\nArt Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 18.\n\nBrussels, Musees royaux des beaux-arts de Belgique, Tracks to Modernity, Oct. 13, 2021-Feb. 13, 2022, cat. 42.\n\nParis, Mus\u00e9e d\u2019Orsay, Enfin le cin\u00e9ma! Arts, images et spectacles en France 1833-1907, Sep. 27, 2021-Jan. 16, 2022; Loas Angeles County Museum of Art, City of Cinema: Paris 1850-1907, Feb. 20-July 10, 2022 [Los Angeles only]","provenance_text":"The artist (d. 1926); sold to Ernest Hosched\u00e9, Paris and Montgeron, Mar. 1877 [this and the following per Wildenstein 1996]. Georges de Bellio (d. 1894), Paris, 1878; by descent his daughter Victorine (de Bellio) Donop de Monchy and son-in-law Eug\u00e8ne Donop de Monchy, Paris, 1894 [per Niculescu, Paragone 249 (Nov. 1970)]. Bernheim-Jeune, Paris, around 1899 [this and the following per Wildenstein 1996]. Paul Rosenberg, Paris, by Oct. 13, 1911; sold to Durand-Ruel, Paris, Oct. 13, 1911, for 13,000 francs [per Durand-Ruel, Paris, stock book for 1901 (no. 9749, as La gare Saint-Lazare, le train de Normandie), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Durand-Ruel, New York, by Dec. 16, 1911 [this and the following per Durand-Ruel, New York, stock book for 1904\u201324 (no. 3502, as Paris la gare Saint-Lazare), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold to Martin A. Ryerson (d. 1932), Chicago, Dec. 16, 1911, for $7,000; bequeathed to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":13.9542,"color":{"h":6,"l":34,"s":53,"percentage":0.00018769614246888,"population":1},"latitude":41.8796393562979,"longitude":-87.6233766797276,"latlon":"41.879639356298,-87.623376679728","is_on_view":false,"on_loan_display":" On loan to Nationalmuseum in Stockholm for To the Sea! Coastal Tourism and the Visual Arts<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":35809,"artist_title":"Claude Monet","alt_artist_ids":[],"artist_ids":[35809],"artist_titles":["Claude Monet"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","Impressionism","landscapes","oil painting","oil paint (paint)","travel","trains","train station","smoke","France","figures","building","nineteenth century","19th century","painting techniques","painting","painting","paint","canvas","paint","oil on canvas","oil paintings (visual works)","french","european painting","painting (image making)","urban life","transportation","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-15636","TM-13203"],"style_ids":["TM-7543","TM-15636","TM-13203"],"style_titles":["Impressionism","nineteenth century","19th century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_ids":["TM-9","TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_titles":["painting","paint","oil on canvas","oil paintings (visual works)","french","european painting"],"subject_id":"TM-8657","alt_subject_ids":["TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8657","TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_titles":["landscapes","travel","trains","train station","smoke","France","figures","building","urban life","transportation","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":[],"image_id":"0f1cc0e0-e42e-be16-3f71-2022da38cb93","alt_image_ids":[],"document_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2","ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"sound_ids":["ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"video_ids":[],"text_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2"],"section_ids":[36725107186],"section_titles":["Cat. 16 \u00a0Arrival of the Normandy Train, Gare Saint-Lazare, 1877"],"site_ids":[],"suggest_autocomplete_boosted":"Arrival of the Normandy Train, Gare Saint-Lazare","suggest_autocomplete_all":[{"input":["1933.1158"],"contexts":{"groupings":["accession"]}},{"input":["Arrival of the Normandy Train, Gare Saint-Lazare"],"weight":86286,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-10T00:30:01-05:00","updated_at":"2026-10-10T03:32:59-05:00","timestamp":"2026-10-10T22:47:57-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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