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covering the track." Similarly, literary scholar Marian
Robinson describes the smoke as a kind of "bas-relief against the duller sky." However, the smoke is not monochromatic as there are hints of purple within the mist. Other hints of color present within the painting include red and yellow lights emanating from the dark locomotive. The red, focused most intensely at the front of the train, seems to "bloody the snow." The yellow lights, in contrast, are not only brightly painted on the front of the engine, but appear at the vanishing point as well.
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263:"tint the dullness," matching "the ominous heaviness of Zola's brief scene." Zola was familiar with Monet's train paintings, writing a positive review about them on display at the Third Impressionist Exhibition held in April 1877. Tucker also notes the similarities between Monet's "poetic" portrayal of the railway in
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Art historians typically emphasize the dividing lines of the piece created by the fence, trees, and tracks as well as the dark smoke produced by the locomotive. However, these historians derive different meanings from the painting, though they overall reference themes of industry and motion. Scholars
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is also widely seen as an example of Monet's attempts during the 1870s to reconcile receding perspective with his exploration of surface effects. These surface effects are produced by Monet's own dark signature and the "vigorous accents added on the snow... very late in the execution of the canvas,"
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represents
Argenteuil station, which was the artist's "commuter stop." At the time of Monet's residence, Argenteuil was located in a suburban section of France, connected by railway to Paris, Le Havre, and Rouen; trains and engines were in constant view at Argenteuil station because of their storage
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Art historian Paul Hayes Tucker emphasizes the depth of Monet's painting in his interpretation; despite the viewer's vantage point being no more than 30 meters away from the train, Tucker claims that "industry and the grittier side of modern developments seem far away." The main part of the train,
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Monet's use of color brings the composition together. Art historian and curator
Marianne Delafond focuses her analysis of the painting on the smoke that billows from the dark train; she describes the smoke as "belching" outward from the train and blending into the "sky as cold and grey as the snow
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Art historians have offered further comments on the use of diagonals in the painting. John House describes the wooden fences as an interruption of the "flow of space" because they divide up the foreground of the scene. James Rubin, on the other hand, believes that the lines of the fence and trees
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Tucker also notes how the train, though evidently stopped at the station, implies movement. He attributes this optical illusion to Monet's use of converging lines created by the diagonals of the trees, fence, and train tracks, as well as the "sleek" nature of the engine itself. Marian
Robinson
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station in France. Art historians see the work as a significant example of Monet's efforts to integrate nature and industry in his work. Many historians believe that Monet, out of all of the notable nineteenth century artists, made the most paintings of trains in his lifetime.
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Throughout the winter of 1874-1875, Monet continuously painted snow scenes in and around his home at
Argenteuil. Fascinated by the trains traveling through his local station on their way to Paris, the artist worked on his paintings while standing on the station
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in 1883, where it attracted much positive attention from critics. In 1940, the painting was donated to the Musée
Marmottan Monet in Paris by Bellio's daughter and son-in-law, Victorine and Don Eugene Donop de Monchy, where it remains today.
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was purchased from Monet by Doctor
Georges de Bellio. De Bellio urged Monet to sell it to him or keep it himself as he was afraid that the painting would "fall into the hands of a fool." After his successful purchase, the doctor loaned
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combined with the "softening effects of snow" sets the train in the "residential refuge" of suburban
Argenteuil. Rubin also believes that the neat row of trees reflects the station's "recent landscaping," emphasizing the effects of the
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she claims that Monet's engine "bloodies" the snow in the same way that is described in Zola's imagined scene, which also features a train caught in a snowfall or blizzard. Additionally, Robinson claims that Monet's colors in
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thus giving the composition a textured effect. Furthermore, the effect of the train cars and station platform disappearing on the horizon are achieved through the "hazy outline" that blends the solid elements with the sky.
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is animated by figures who serve to enliven the cold landscape. The signal man, for example, prepares for the train's departure as he stands towards the front of the engine, adjacent to the stop sign on the platform.
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The painting depicts a steam-driven train arriving at
Argenteuil Station, where many travelers are gathered on the platform waiting to board. As in most of Monet's snowscapes at Argenteuil, the composition of
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further claims that the "suggestion of motion and power" in Monet's engines provides "an apocalyptic vision of potential destruction" brought on by the
Industrial Revolution.
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Out of his many paintings of trains, Monet seems to have only painted three scenes from 1875-1876 that take place in the snow, including this particular painting.
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fled to England for fear of Monet's military conscription. Returning to France in late 1871, the couple settled in Argenteuil along the
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also note the important connections between Monet's painting and contemporary works of literature, particularly those of
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Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh
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though it is relatively close to the viewer, is "suffused and dematerialized in the snow-filled air."
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Monet : in the time of the water lilies : the Musée Marmottan Monet collections
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145:. While many of Monet's paintings of trains come from the Gare St. Lazare Station,
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Marian Robinson emphasizes the connection between this work and French novelist
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59 cm Ă— 78 cm (23 in Ă— 31 in)
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517:. Claude Monet. New Haven: Yale University Press. p. 52.
248:'s writing. Robinson notes a particular scene in Zola's novel
431:. Caroline Genet-Bondeville. Paris: Scala. pp. 39–40.
112:. The work depicts a train surrounded by snow at the
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Fondation Monet – Giverny home, studio, and gardens
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726:The Road in Front of Saint-Simeon Farm in Winter
917:Woman with a Parasol – Madame Monet and Her Son
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386:. University of California. pp. 108–110.
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475:"Zola and Monet: The Poetry of the Railway"
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254:that seems to echo the imagery of Monet's
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325:The Railroad Station at Argenteuil (1872)
555:. Yale University Press. pp. 53–54.
104:, is a landscape painting by the French
885:Argenteuil Basin with a Single Sailboat
570:"LE TRAIN DANS LA NEIGE. LA LOCOMOTIVE"
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313:Train in the Snow at Argenteuil (1875)
170:Description and compositional analysis
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925:A Corner in the Garden at Montgeron
1422:Monet: The Mystery of the Orangery
298:Monet's train scenes at Argenteuil
137:, Monet and his newly wedded wife
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348:List of paintings by Claude Monet
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16:1875 painting by Claude Monet
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479:Journal of Modern Literature
473:Robinson, Marian S. (1983).
224:Interpretation and reception
89:Musee Marmottan Monet, Paris
1390:A Studio at Les Batignolles
981:The Cliff Walk at Pourville
710:The Beach at Sainte-Adresse
511:Tucker, Paul Hayes (1982).
425:Delafond, Marianne (2002).
267:and Zola's later writings.
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861:Resting Under a Lilac Bush
1474:Paintings by Claude Monet
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133:With the outbreak of the
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401:. Yale University Press.
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869:The Seine at Argenteuil
837:Boulevard des Capucines
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1303:Blanche Hoschedé Monet
1125:Le Bassin Aux Nymphéas
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758:Interior, after Dinner
553:Monet: Nature into Art
399:Monet: Nature into Art
256:The Train in the Snow;
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29:Le train dans la neige
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1021:Haystack Near Giverny
997:Stormy Sea at Étretat
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909:The Train in the Snow
853:The Seine at Asnières
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806:Regatta at Argenteuil
574:Musée Marmottan Monet
382:Rubin, James (2008).
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276:The Train in the Snow
265:The Train in the Snow
261:The Train in the Snow
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1309:Theodore Earl Butler
1247:San Giorgio Maggiore
1223:Houses of Parliament
1207:Charing Cross Bridge
551:House, John (1986).
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790:Windmill at Zaandam
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694:Woman in the Garden
686:Women in the Garden
514:Monet at Argenteuil
285:Galerie Durand-Ruel
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649:View from Rouelles
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1218:(1900–1904)
1210:(1899–1904)
1194:(1892–1894)
1109: 1914
814: 1872
1468:Categories
1374:Portrayals
1285:Jean Monet
821:Springtime
750:The Magpie
579:2022-10-28
354:References
271:Provenance
246:Emile Zola
129:Background
123:Emile Zola
114:Argenteuil
78:Dimensions
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1178:(1890–91)
1175:Haystacks
769:(1868–73)
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640:Paintings
491:0022-281X
63:Oil paint
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1329:(patron)
447:52424288
334:See also
162:platform
86:Location
69:Movement
27:French:
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1343:Museums
1183:Poplars
678:Camille
533:7739530
292:Gallery
175:Content
139:Camille
108:artist
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1266:People
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55:1875
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