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Dramatic painting of two locomotives spewing steam at the entrance of a glass roof station.

As a train caboose exits on the left, a large black locomotive on the right arrives spewing large puffs of steam that swirl around under the peaked glass roof. A conductor wearing blue uniform and cap stands in the foreground near center, two others step away from the left train near an unoccupied track that curves toward the center of earth-like foreground. Primarily painted in cool blue colors with textured brushstrokes, large city buildings are suggested in the background. People dot the platform on the left. The painting is signed in black in the lower left.

Gallery Text

This is the largest in Monet’s series of twelve paintings of the Saint-Lazare train station in Paris, a subject favored by many impressionist painters. While completing the series, Monet relocated from the town of Argenteuil to an apartment near the station in Paris. He worked on all the paintings at the same time, and sometimes he leaned the stretched canvases against each other while the paint was still wet. This caused the cork spacers on the backs of the stretchers to be pressed into the adjacent paintings, creating circular indentations in the surface that are visible along the top edge of this work. Monet’s thick build-up of pigments here is a virtuosic example of his approach to painting during this period, when he juxtaposed multitudinous hues in mounds of impasto that would blend into a coherent whole only when viewed from a distance. This technique reportedly led Cézanne to declare, “Monet is only an eye, but my God what an eye!”

Identification and Creation

Object Number
Claude Monet, French (Paris, France 1840 - 1926 Giverny, France)
The Gare Saint-Lazare: Arrival of a Train
Other Titles
Alternate Title: Gare Saint-Lazare, Paris: Arrival of a Train
Work Type
Persistent Link


Level 1, Room 1220, European Art, 19th–20th century, Collection of Maurice Wertheim, Class of 1906
View this object's location on our interactive map

Physical Descriptions

Oil on canvas
83 x 101.3 cm (32 11/16 x 39 7/8 in.)
framed: 110.3 x 127.5 x 9.5 cm (43 7/16 x 50 3/16 x 3 3/4 in.)
Inscriptions and Marks
  • Signed: l.l.: Claude Monet 77


Recorded Ownership History
Claude Monet, Painted, 1877, sold: to Ernest Hoschedé, 1877, sold; to Charles Deudon, 1877 [1]. [Paul Rosenberg, Paris (by 1919)]. Mme. Emile Staub-Terlinden, Mannedorf, Switzerland, (by 1923-at least 1938) [2], sold; [to Wildenstein and Co., New York,(c. 1942-1945) ] sold; to Maurice Wertheim (1945-1951), bequest; to Fogg Art Museum, 1951.

[1] Distel cites Monet notebook on sale to Deudon "pour le compte de M. Hoschedé," who had gone bankrupt.

[2] Seligmann archives note presence of this painting in Staub-Terlinden's home during 1930 visit. Staub-Terlinden put paintings on deposit with Wildenstein some time after 1938 exhibition, Wildenstein purchased c. 1942-43, per documents in Foreign Funds Control Investigative Reports.

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906
Accession Year
Object Number
European and American Art


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Publication History

  • The Complete Works of Claude Monet 1870-1889, Rizzoli (Milan, Italy, n.d.), repr. in color pl. 13; p. 98
  • L. G., "Le Salon des Impressionistes", La Presse (April 6, 1877), p. 2
  • Georges Riviere, "Les Intransigents et les impressionistes", L'Artiste (November 1877), p. 301
  • Georges Riviere, "L'Exposition des Impressionistes", L'Impressioniste (April 6, 1877), no. 1
  • 3e exposition de peinture, exh. cat., 6 rue le Peletier (Paris, France, 1877), no. 100
  • Französische Kunst des 19. und 20. Jahrhunderts, exh. cat., Kunsthaus Zürich (Zurich, Switzerland, 1917)
  • "La Curiosité, la collection Deudon", Bulletin de la Vie Artistique (May 1 1920), p. 307
  • Gustave Geffroy, Claude Monet, sa vie, son temps, son oeuvre, G. Crès et Cie (Paris, France, 1922), p. 92
  • René-Jean, "L'Art français dans une collection suisse", La Renaissance (Aug 1923), p. 472
  • Cinquante Ans de peinture française, exh. cat., Musée des Arts Decoratifs (Paris, France, 1925), no. 47
  • Pierre Courthion, "L'Art français dans les collections privées en Suisse", L'Amour de l'Art (February 1926), vol. VII, pp. 42, 45
  • Vincent van Gogh en zijn Tijdgenooten, exh. cat., Stedelijk Museum (Amsterdam, The Netherlands, 1930), no. 220
  • Alfred M. Frankfurter, "Masterpieces of French Art", Art News (October 9, 1937), vol. XXXVI, repr. p. 11
  • Chefs-d'oeuvre de l'art français, exh. cat., Petit Palais, Paris (Paris, France, 1937), no. 374
  • La Peinture Français de XIXe Siècle en Suisse, exh. cat., Gazette des Beaux-Arts (Paris, France, 1938), repr. pl. XXIV, no. 64
  • Lionello Venturi, Les Archives de l'Impressionisme (Paris, France, 1939), vol. I, p. 152 and vol. II p. 312
  • Maurice Malingue, Claude Monet, Les Documents d'Art (Monaco, 1943), pp. 83, 147; repr. p. 83
  • A loan exhibition of paintings by Claude Monet for the benefit of the children of Giverny, exh. cat., Wildenstein Galleries (New York, NY, 1945), no. 24
  • Alfred M. Frankfurter, "Today's Collectors: Modern Milestones", Art News (June 1946), vol. XLV, no. 4, p. 64; repr. in color p. 28
  • French Painting since 1870, lent by Maurice Wertheim, Class of 1906, exh. cat., Fogg Art Museum (Cambridge, MA, 1946), pp. 12-15, repr. p. 13
  • John Rewald, The History of Impressionism [1st ed.], The Museum of Modern Art (New York, NY, 1946), repr. in color facing p. 318
  • Oscar Reuterswärd, Monet, en konstnarshistorik, Albert Bonniers Förlag (Stockholm, Sweden, 1948), p. 281, detail repr. in b/w, fig. 48, p. 108
  • La Peinture Française Depuis 1870: Collection Maurice Wertheim, exh. cat., Tom Taylor (Québec, Canada, 1949), no. 5, pp. 14-16
  • Howard Devree, "By French Masters: The Metropolitan Shows Wertheim Collection", The New York Times (New York, NY, July 6 1952), p. 6, p. 6
  • M. Rostand, "Quelques amateurs de l'époque impressioniste" (Thesis, Ecole du Louvre, Paris, 1955), Unpublished, p. 284
  • Howard Devree, "By French Masters: Memorable Loan Show in Philadelphia", The New York Times (New York, NY, July 7 1957), p. 70, p. 70, repr.
  • Denis Rouart and Leon Degand, Claude Monet, Skira (New York, NY, 1958), pp. 68, 70, repr. p. 68
  • William Chapin Seitz, Claude Monet, Harry N. Abrams, Inc. (New York, NY, 1960), pp. 29, 106-107
  • Golden Encyclopedia of Art, Golden Press, Inc. (New York, NY, 1960), repr.
  • The Maurice Wertheim Catalogue: Modern French Art-- Monet to Picasso, exh. cat., North Carolina Museum of Art (Raleigh, NC, 1960), p. 26, repr. p. 27
  • Encyclopedia Universale dell'Arte, Istituto per la Collaborazione Culturale (Rome, Italy, 1961)
  • Jean Leymarie, French Painting, the Nineteenth Century, Editions d'Art Albert Skira (Geneva, Switzerland, 1962), repr. in color p. 188
  • Jean Renoir, Renoir, My Father, Collins (London, England, 1962), pp. 174-175
  • The Maurice Wertheim Collection: Manet to Picasso, exh. cat., The Museum of Fine Arts, Houston (Houston, TX, 1962), p. 30, pl. 10
  • "Modern French Art", The Baltimore Sun, Sunday magazine (Baltimore, MD, July 14 1963), ill. p. 9
  • René Gimpel, Journal d’un collectionneur: marchand et tableaux, Calmann Lévy (Paris, 1963), pp. 144-145, 177
  • Geoffrey Bruun and Millicent Haines, The World Story, D. C. Heath and Co. (Boston, MA, 1963), repr. in color p. 406h
  • R. Niculescu, "G. de Bellio, l'ami des impressionistes", Revue romaine d'Histoire de l'Art (1964), v. I, p. 264, no. 2
  • Collier Junior Encyclopedia, Crowell-Collier Educational Corp. (New York, NY, 1965), repr.
  • Odyssey History of the World, Golden Press, Inc. (New York, NY, 1965), repr. vol. XII
  • Phoebe Pool, Impressionism, Viking Press (New York, NY, 1966), p. 162; repr. in color no. 124
  • Raymond Cogniat, Monet and his World, Viking Press (New York, NY, 1966), repr. p. 70
  • Frank Alweis, New Dimensions of World History, American Book Co. (New York, NY, 1968), repr. in color
  • Paul MacKendrick, Western Civilization, ed. William Leonard Langer, American Heritage Publishing Co. (New York, NY, 1968), repr. in color, vol. II, p. 456
  • [Unidentified article], Femina (1969), no. 8, repr.
  • Heinz Peters, ed., Kleine Museum Reise durch Amerika, Gebr. Mann Verlag (Berlin, Germany, 1969), repr. p. 110
  • Harold Spencer, ed., Readings in Art History vol. II: The Renaissance to the Present, Charles Scribner's Sons (New York, NY, 1969), repr. in b/w p. 342, fig. 47
  • W. O. Henderson, The Industrialization of Europe: 1780-1914, Thames & Hudson (London, England, 1969), repr. in color p. 21
  • Hans L. C. Jaffe, The World of the Impressionists, Hammond, Inc. (Maplewood, NJ, 1969), repr. p. 53
  • Felix Marti-Ibanez, ed., The Adventure of Art, C. N. Potter (New York, NY, 1970), repr. in color p. 503
  • Norman Rich, The Age of Nationalism and Reform, 1850-1890, W. W. Norton & Company (New York, NY, 1970), repr. in color on cover
  • James Nelson, "Impressionism Ridiculed by 19th Century Critics", The Montgomery Advertiser Journal (Montgomery, AL, June 6, 1971)
  • Maria Blunden and Godfrey Blunden, Impressionists and Impressionism, Skira (Geneva, Switzerland, 1971), repr. in color p. 141
  • Pierre Daix, L'Aveuglement devant la peinture, Editions Gallimard (Paris, France, 1971), repr.
  • Fritz Baumgart, DuMont's Kleine Kunstgeschichte, Verlag M. DuMont Schauberg (Köln, Germany, 1972), repr. p. 296
  • Monet et L'Impressionisme, Japan Art Center (Tokyo, Japan, 1972), plate II, repr. in color
  • The Maurice Wertheim Collection, exh. cat., Maine State Museum (Augusta, ME, 1972), no. 21
  • [Unidentified article], Harvard Bulletin (Cambridge, MA, June 1973), repr. p. 68
  • Daniel Wildenstein, Claude Monet: Biographie et Catalogue Raisonné, La Bibliothèque des Arts (Lausanne, Switzerland, 1974 - 1991), no. 439
  • John Coolidge, "Maurice and Cecile Wertheim", Fogg Art Museum Newsletter, Fogg Art Museum (Cambridge, MA, March 1975), p. 6
  • Steven Z. Levine, "Monet's Gare Saint-Lazare", Fogg Art Museum Newsletter, Fogg Art Museum (Cambridge, MA, June 1975), p. 7
  • Steven Z. Levine, Monet and His Critics (New York, NY, 1976), pp. 27, 30, 33
  • Kenneth Neill, The Age of Steam and Steel: Ireland, Britain, and Europe in the 19th Century, Gill and MacMillan (Dublin, Ireland, 1976), repr. on cover
  • Georges Riviere, "L'Exposition des Impressionistes", Impressionism in Perspective, ed. Barbara Ehrlich White, Prentice Hall (Englewood Cliffs, NJ, 1978), pp. 9-10, fig. 4
  • Joel Isaacson, Observation and Reflection: Claude Monet, Phaidon Press / Dutton (Oxford, England / New York, NY, 1978), pp. 22, 45, 108, repr., 210-211
  • Robert L. Herbert, "Method and Meaning in Monet", Art In America (September 1979), vol. 67, pp. 90-108, p. 108
  • Rodolphe Walter, "Saint-Lazare l'impressioniste", L'Oeil (November 1979), no. 292, p. 52, repr. p. 55
  • Hommage à Claude Monet, exh. cat., Grand Palais (Paris, France, 1980), p. 159
  • Akiko Mabuchi, Mone, Kodansha Ltd. (Tokyo, Japan, 1980), repr. in color p. 86
  • John Russell, The Meanings of Modern Art, Harper & Row (New York, NY, 1981), repr. in color p. 20
  • Paul Hayes Tucker, Monet at Argenteuil, Yale University Press (New Haven, CT and London, England, 1982), p. 169, fig. 149
  • Robert Gordon and Andrew Forge, Monet, Harry N. Abrams, Inc. (New York, NY, 1983), pp. 77, 78, repr.
  • Vivien Raynor, "Art: Impressionist Show at the I.B.M. Gallery" [review], The New York Times (New York, NY, April 26, 1985), p. C24
  • G. Freisinger, "Second Impressions", Harvard Magazine (Cambridge, MA, May 1985 - June 1985), p. 40, ill.
  • Claude Monet: Painter of Light, exh. cat., Auckland City Art Gallery (Auckland, New Zealand, 1985), p. 12
  • Edmund Burke Feldman, Thinking About Art, Prentice-Hall, Inc. (Englewood Cliffs, NJ, 1985), repr. in color fig. 5-18, p. 211
  • Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 220, p. 193, repr. in b/w
  • Bruce Bernard, ed., The Impressionist Revolution, Orbis Publishing Ltd. (London, England, 1986), repr. in color p. 136
  • Charles S. Moffett, The New Painting: Impressionism, 1874-1886, exh. cat., R. Burton (Geneva, Switzerland, 1986), pp. 189, 191, fig. 2, 198
  • Roger Dunn, "'The Seine at Bougival' by Claude Monet", Bulletin of the Currier Gallery of Art, Currier Museum of Art (Manchester, NH, Spring 1987), repr. in b/w fig. 4, p. 8
  • "Monet", Asahi Graph, Orion Press (Tokyo, Japan, 1988), repr. in color pl. 24
  • John O'Brian, Degas to Matisse: the Maurice Wertheim Collection, Harry N. Abrams, Inc. and Fogg Art Museum (New York, NY and Cambridge, MA, 1988), no. 5, pp. 48-51; repr. in color p. 49
  • Charles F. Stuckey, Monet Water Lilies, Hugh Lauter Levin Associates, distributed by MacMillan Publishing Co. (New York, NY, 1988), repr. in b/w p. 14
  • Anne Distel, "Charles Deudon (1832-1914) collectionneur", Revue de l'Art (1989), 86, Issue 1, pp. 60, 65, reproduced.
  • Nathan Goldstein, Design and Composition, Prentice-Hall (Englewood Cliffs, NJ, 1989), repr. in b/w, fig. 11.4, p. 255
  • Anne Distel, Les Collectionneurs des Impressionistes: Amateurs et marchands, La Bibliothèque des Arts (Paris, France, 1989), repr. in color, no. 137, p. 160
  • Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), p. 83, color plate; pp. 120, 245, repr. b/w cat. no. 345
  • Winfried Nerdinger, Perspektiven der Kunst von der Karolingerzeit bis zur Gegenwart, Verlag Martin Lurz GmbH (Munich, Germany, 1990), repr. in color, abb. 271, p. 251
  • Nobuo Abe, The Great History of Art: Impressionism (Tokyo, Japan, 1990 - 1991), repr. in color, p. 79
  • The Maurice Wertheim Collection and Selected Impressionist and Post-Impressionist Paintings and Drawings in the Fogg Art Museum, exh. cat., Harry N. Abrams, Inc. (New York, NY, 1990), repr. in color no. 6 p. 43
  • Bernard Denvir, Impressionism, the Painters and the Paintings, Studio Editions (London, England, 1991), repr. in color as fig. 235, p. 245
  • Norma Broude, Impressionism: A Feminist Reading, Rizzoli (New York, NY, 1991), repr. in b/w, fig. 10, p. 29; text p. 28
  • Sylvie Patin, Monet "Un oeil...mais, bon dieu, quel oeil!", Decouvertes Gallimard/Reunion des Musées Nationaux (Paris, France, 1991), repr. in color p. 61
  • [Unidentified article], Geijutsu Shincho (Tokyo, Japan, October 1992), repr. in color p. 25
  • The Canvas Seeks the Light, Kodansha (Tokyo, Japan, 1992), repr. in color fig. 5-19, p. 103
  • Christoph Heinrich, Claude Monet 1840-1926, Benedikt Taschen Verlag (Köln, Germany, 1993), repr. in color p. 41
  • Gina Crandell, Nature Pictorialized: "The View" in Landscape History, The Johns Hopkins University Press (Baltimore, MD and London, England, 1993), repr. in b/w fig. 10.7, p. 158; text p. 157
  • Richard Mühlberger, O Que Faz de um Monet um Monet?, The Metropolitan Museum of Art (New York, 1993), pp. 25-27, repr. in color
  • The 19th Century, Kodansha (Tokyo, Japan, 1993), repr. in color p. 109
  • Richard Mühlberger, What Makes a Monet a Monet?, Metropolitan Museum of Art / Viking (New York, NY, 1993), pp. 25-27, repr. in color
  • Eric Shanes, Impressionist London, Abbeville Press (New York, NY, 1994), repr. in color no. 27, p. 39
  • John Russell Taylor, Claude Monet: Impressions of France from Le Havre to Giverny, Collins and Brown (London, England, 1995), p. 74; repr. in color p. 75
  • The 3-D Museum, Shogakukan Inc. (Tokyo, Japan, 1995), p. 46, repr. in color p. 47
  • Ulrich Hamm and Gerhard Pick, Traum und Wirklichkeit, Ernst Klett Verlag GmbH (Stuttgart, Germany, 1995), p. 13, repr.
  • Robert Boardingham, Impressionist Masterpieces in American Museums, Hugh Lauter Levin Associates, Inc. (New York, NY, 1996), pp. 70-1
  • Heinrich Pleticha, Welt-Geschichte: Furstenhofe und fabriken, Bertelsmann Lexikon Verlag (Gutersloh, Germany, 1996), p. 284, b&w
  • William Keirce, "Pullmans, Stations, Steam: The Railroad as an Aesthetic Object", Railroad History (Autumn 1998), no. 179, pp. 7-30, pp. 9-11, repr. in b/w
  • Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. cat., National Gallery of Art (Washington, D.C., 1998), p. 110, fig. 98, repr. in colour
  • Palmira Brummett, Civilization Past & Present, Addison-Wesley Educational Publishers Inc. (New York, 2000), repr. in color p. 646
  • Belinda Thomson, Impressionism: Origins, Practice, Reception, Thames and Hudson, Ltd. (London, 2000), pp. 210-211, repr. in color
  • Richard R. Brettell, "Monet e Parigi", exh. cat., Linea d'Ombra (Conegliano, Italy, 2001), p. 131, repr.
  • Norio Shimada and Keiko Sakagami, Claude Monet 1881-1926, exh. cat., Toppan Tanc (Japan, 2001), p. 136. repr. in color as fig. 103
  • James Cutting, "Gustave Caillebotte, French Impressionism, and Mere Exposure", Psychonomic Bulletin & Review (June 2003), vol. 10, no. 2, pp. 319-343, p. 323, repr., and no. 26 in checklist
  • Liza Knapp, ed., Approaches to Teaching Tolstoy's Anna Karenina, The Modern Language Association of America (New York, 2003), repr. in color on cover
  • True Kelley, Claude Monet: Sunshine and Waterlilies, Grosset & Dunlap (2004), p. 17, repr. in color
  • Raymond Gubbay, Paris after the War, La Bohème, Raymond Gubbay and the Royal Albert Hall (London, 2004), pp. 16-17, repr. in color
  • Wiener Linien: Kunst und Stadtbeobachtung seit 1960, exh. cat., Wien Museum Karlsplatz (Vienna, Austria, 2004), pp. 17-18, repr. in b/w
  • David G. Wilkins and Bernard Schultz, Art Past, Art Present, Pearson Prentice Hall (Saddle River, NJ, 2005), pp. 445-446, repr. in color as fig. 9.54
  • F. Blanchard, M. Boulanger, and C. Cazaban-Mazerolles, Histoire Géographie, Foucher (Vanves, France, 2006), repr. in color p. 129
  • Petra ten-Doesschate Chu, Nineteenth-Century European Art, Pearson Prentice Hall (Upper Saddle River, NJ, 2006), pp. 392, 394, ill. p. 394
  • [Reproduction only], "On the right track", Saturday Guardian, (United Kingdom, 11/17/2007)., p. 22
  • Paul Tucker, Monet and the Challenges to Impressionism in the 1880s, Critical Readings in Impressionism and Post-Impressionism, ed. Mary Tompkins Lewis, University of California Press (Berkeley, 2007), pp. 237-238, ill. p. 238.
  • Ian Kennedy and Julian Treuherz, The Railway: Art in the Age of Steam, exh. cat., Nelson-Atkins Museum of Art and National Museums Liverpool (Kansas City and Liverpool, 2008), pp. 159-161, repr. in color as Fig. 58 on p. 160
  • Ségolène Le Men, Monet, Citadelles & Mazenod (Paris, 2010), p. 194, ill. 158, p. 222, ill. 177, p. 223
  • Walter B. Denny, Frima Fox Hofrichter, and David L. Simon, Janson's History of Art: The Modern World, Prentice-Hall (Upper Saddle River, NJ, 2012), p. 874, repr. p. 875 as fig. 25.16
  • Elizabeth M. Rudy, "Researching the Wertheim Collection at the Harvard Art Museums", Collections: A Journal for Museum and Archives Professionals (Summer 2014), Vol. 10, No. 3, pp. 301-6, p. 302
  • Felix Krämer, ed., Monet and the Birth of Impressionism, exh. cat., Prestel (Munich, 2014), pp. 193, 195-6, fig. 3
  • Jane Sirén, The Impressionist Revolution and the Advent of Abstract Art, exh. cat., Albright-Knox Art Gallery (Buffalo, 2015), pp. 29 - 30, fig. 17
  • Penelope J. E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph Jacobs, Ann M. Roberts, and David L. Simon, Janson's History of Art: The Western Tradition, Pearson and Laurence King Publishing Ltd. (Boston, 2016), p. 874, fig. 25.16, repr. p. 875
  • Françoise Ravelle, Paris impressionniste: 100 tableaux de légende, Parigramme (Paris, 2016), p. 65, repr.
  • Angelica Daneo, Christoph Heinrich, Michael Philipp, and Ortrud Westheider, ed., Claude Monet: The Truth of Nature, exh. cat. (Denver, 2019), fig. 9, p. 74
  • Caroline Shields, Impressionism in the Age of Industry, exh. cat., Art Gallery of Ontario (Toronto, 2019), p. 79, fig. 9
  • André Dombrowski, "Impressionism and the Standardization of Time: Claude Monet at Gare Saint-Lazare", The Art Bulletin, College Art Association of America (June 2020), Vol. 102, No. 2, pp. 91-120, pp. 94-95, 100-110 fig. 7, repr. p. 103, fig. 14, repr. p. 110
  • Hugbert Flitner, Die Eisenbahn in der Kunst, Ellert & Richter (2020), pp. 62-64, repr. p. 63 as no. 8
  • Allison Deutsch, Consuming Painting: Food and the Feminine in Impressionist Paris, Pennsylvania State University Press (University Park, 2021), pp. 124-128, repr. p. 127 as fig. 50

Exhibition History

  • Troisième Exposition de Peinture, Rue le Peletier, Paris, 04/01/1877 - 04/30/1877
  • Französische Kunst des XIX und XX Jahrhunderts, Kunsthaus Zürich, Zurich, 01/01/1917 - 12/31/1917
  • Cinquante ans de peinture française, Musée des Arts Decoratifs, Paris, 01/01/1925 - 12/31/1925
  • Van Gogh en zijn tijdgenooten, Stedelijk Museum, Amsterdam, 01/01/1930 - 12/31/1930
  • Chefs d'oeuvres de l'art française, Palais des Beaux-Arts, Paris, Paris, 01/01/1937 - 12/31/1937
  • Le peinture française du XIXe siècle en Suisse, [Unknown venue, Paris], 01/01/1938 - 12/31/1938
  • A Loan Exhibition of Paintings by Claude Monet, Wildenstein Gallery, New York, New York, 04/11/1945 - 05/12/1945
  • French Painting since 1870 lent by Maurice Wertheim, Class of 1906, Fogg Art Museum, Cambridge, 06/01/1946 - 09/07/1946; National Gallery of Art, Washington, 07/01/1953 - 09/13/1953
  • La Peinture Française depuis 1870, Musée de la Province de Quebec, 07/12/1949 - 08/07/1949
  • The Maurice Wertheim Collection, The Metropolitan Museum of Art, New York, 07/01/1952 - 09/14/1952
  • French Paintings Since 1870 from the Maurice Wertheim Collection, National Gallery of Art, Washington, 06/01/1953 - 09/30/1953
  • The Maurice Wertheim Collection, Philadelphia Museum of Art, Philadelphia, 06/15/1957 - 09/15/1957
  • The Maurice Wertheim Collection, Minneapolis Institute of Arts, Minneapolis, 06/10/1958 - 08/31/1958
  • The Maurice Wertheim Collection: Modern French Art--Monet to Picasso, North Carolina Museum of Art, Raleigh, 06/17/1960 - 09/04/1960
  • The Maurice Wertheim Collection: Manet to Picasso, The Museum of Fine Arts, Houston, Houston, 06/13/1962 - 09/02/1962
  • The Maurice Wertheim Collection, Baltimore Museum of Art, Baltimore, 06/20/1963 - 09/01/1963
  • The Maurice Wertheim Collection, Currier Museum of Art, Manchester, 06/24/1965 - 09/07/1965
  • The Maurice Wertheim Collection, Rhode Island School of Design Museum, Providence, 09/03/1968 - 09/22/1968
  • The Maurice Wertheim Collection, Montgomery Museum of Art, Montgomery, 06/01/1971 - 09/30/1971
  • The Maurice Wertheim Collection, Maine State Museum, Augusta, 06/01/1972 - 09/01/1972
  • Manet to Matisse: The Maurice Wertheim Collection, IBM Gallery of Science and Art, New York, 04/09/1985 - 05/25/1985
  • The Maurice Wertheim Collection and Selected Impressionist and Post-Impressionist Paintings and Drawings in the Fogg Art Museum, Isetan Department Store, Tokyo, 03/01/1990 - 04/10/1990; Yamaguchi Prefectural Museum of Art, 04/14/1990 - 05/13/1990
  • Re-View: S427 Impressionist & Postimpressionist Art, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 08/02/2008 - 06/18/2011
  • 32Q: 1220 Wertheim, Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050

Subjects and Contexts

  • Google Art Project

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Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at