San Giorgio Maggiore at Dusk
Saint-Georges majeur au crépuscule refers to an Impressionist painting by Claude Monet, which exists in more than one version. It forms part of a series of views of the monastery-island of San Giorgio Maggiore. This series is in turn part of a larger series of views of Venice which Monet began in 1908 during his only visit there.
Versions in Cardiff and Tokyo
One version of San Giorgio Maggiore at Dusk was acquired in Paris by the Welsh art collector Gwendoline Davies. She bequeathed it to the Art Gallery in Cardiff, Wales. The painting is normally on display there.The other version is in the Bridgestone Museum of Art in Tokyo.
''San Giorgio Maggiore al Crepuscolo'': Description of the painting
San Giorgio Maggiore al Crepuscolo is approximately two-by-three feet and painted in oil on canvas. It depicts mysterious buildings that seem to magically appear from the surrounding landscape, they almost seem to float in the background. The forms are gently inserted, though not enough to disguise their identity. The painting focuses on the Church of San Giorgio Maggiore with its bell tower rising to the top of the painting. To the right are the faintly visible domes of Santa Maria della Salute and the mouth of the Grand Canal.Monet and San Giorgio Maggiore
Monet painted the church of San Giorgio Maggiore in six lighting conditions. With this varied approach, the paintings focused on the ‘nature of experience.’He was particularly impressed by the Venetian sunsets, “these splendid sunsets which are unique in the world.” He had previously been inspired by other sunsets, such as those of Normandy and London.
Viewpoints
Monet and his wife Alice stayed at the Palazzo Barbaro for a couple of weeks, and then moved to the Hotel Britannia, where they stayed until December.According to Mme. Monet, the Britannia had a view, "if such a thing were possible, even more beautiful than that of Palazzo Barbaro..."
Monet painted looking out from this hotel, but not, it seems, in the case of this particular painting. Although the view from the hotel included the church of San Giorgio Maggiore, the painting at dusk appears to have been viewed from the waterfront known as the Riva degli Schiavoni, where the island forms a focal point of the view.
Monet was reportedly reluctant to paint from the waterfront. He disliked crowds of tourists and he was also worried about conforming to other artists who were drawn to Venice, such as Renoir or Manet. San Giorgio Maggiore was a favorite subject for painters, including the proto-Impressionist Turner.