Last Paintings in Venice
In the last few weeks that Claude Monet was in Venice, he began the series of the Rio della Salute and the Twilight series, which were both as progressive and untraditional as the Palazzi series. In order to depict the Rio della Salute series, Monet stood closer to the façade of the house, located west of the Santa Maria della Salute, which makes the Rio della Salute seem much taller than it is (figure 1). The motif for all three of the Rio della Salute is compact emphasizes ones perception of Venice from within the local canal, as if the viewer is floating along in a gondola through its narrow passage.1
The Twilight series shows Monet working back into landscape paintings, and even painting the same subject, the San Giorgio Maggiore, but this time as seen from the Via Garibaldi.2 In this series Monet depicts Venice with a more traditional romanticism, even here he paints reality under the same conditions, however the pictorial representations are although very close in figures 2 and 3. The haze of Venice is still present, as well as the luminous and harmonious effect, and strong architectural presence, but the subject has no more meaning than the rest of the components. It is in his last paintings that however that scholars maintain the Monet seems to given into the romance of Venice, and had he returned he may have continued to paint landscapes like those of the San Giorgio at Dusk.
1Pissarro, Monet on the Mediterranean, 172.
2Mount, Charles Merrill. Monet (New York: Simon and Schuster, 1966), 376.