San Giorgio Maggiore
The San Giorgio Maggiore series is for all intent and purposes the counter-part to the Doge’s Palace Seen by San Giorgio Maggiore, however the acuity of the angle at which Monet painted, and the visibility of the east facade that he did not paint from directly across the Grand Canal at the Palazzo Ducale. It happens that later in their stay, Monet and his wife moved from the Palazzo Barbaro to the Hotel Britannia, now the Westin Europa and Regina, which is located west of the Doge’s Palace.1 It has been noticed by scholars that Monet could have painted all six of the San Giorgio Maggiore series from the Hotel Britannia.
Monet was dedicated to his methods. Similar to the Santa Maria della Salute series he created six identical motifs that were painted in the light of the afternoon. The architecture is underrepresented and he included the Venetian haze, but what sets this series apart from the other series is the color palette. These images are characterized by contrasting tones of blues and purples and reds and oranges, yet they are harmonious. It is undetermined in which order Monet made his paintings of Venice, but the order of this series has been speculated on based on the heavier cool tones in figures 2-3 and warmer tones in figures 1 and 4.2 What else is interesting about this series in comparison to both the Palazzo Ducale and San Giorgio Maggiore, there are the moving gondolas, with which Monet depicts the Venetian lifestyle.
1Wildenstein, Monet: Or the Triumph of Impressionism, 386.
2 Pissarro, Monet on the Mediterranean, 160.