New York’s Biggest Monet Show in 25 Years Is a Revelation
In the heart of Brooklyn, a luminous journey through the canals of Venice has materialized, courtesy of the Brooklyn Museum's latest exhibition, "Monet and Venice." Opening on October 11, 2025, and running through February 1, 2026, this show marks New York's largest museum dedication to Claude Monet in over a quarter-century, featuring more than 100 artworks, books, and ephemera that illuminate an often-overlooked chapter in the Impressionist's prolific career. At its core are 19 of Monet's ethereal Venetian paintings, reunited for the first time since their debut in 1912, offering visitors a revelatory glimpse into how the aging artist reinvented his approach to light, color, and form amid the floating city's unique atmosphere.
Claude Monet, the founder of Impressionism, is renowned for his relentless pursuit of capturing fleeting moments in nature. Born in 1840 in Paris and raised in Le Havre, Monet's early life was shaped by the Normandy coast, where mentors like Eugène Boudin encouraged him to paint en plein air—outdoors, directly from life. This technique became the hallmark of Impressionism, a movement Monet spearheaded with works like "Impression, Sunrise" (1872), which gave the style its name. For those seeking a deeper dive into his life, the comprehensive Claude Monet biography on Wikipedia provides an authoritative overview of his evolution from caricaturist to master painter.
By 1908, at age 68, Monet was already a legend, famous for series depicting haystacks, Rouen Cathedral, and his beloved water lilies at Giverny. Yet, personal tragedies— including the deaths of his first wife Camille in 1879 and his second wife Alice in 1911—coupled with encroaching cataracts, prompted a need for renewal. Invited to Venice by a socialite friend, Monet initially hesitated, wary of leaving his garden sanctuary. But upon arrival, staying first at the Palazzo Barbaro and then the Hotel Britannia, he was captivated. Over three months, he produced 37 canvases, working feverishly from a gondola to capture the city's iconic landmarks: the Grand Canal, the Doge's Palace, and San Giorgio Maggiore. These paintings, devoid of human figures, emphasize the interplay of architecture with shimmering water and ever-shifting light, blurring the lines between reality and abstraction.
The Brooklyn Museum's exhibition brilliantly contextualizes this Venetian interlude within Monet's broader oeuvre. Curated by Lisa Small, Senior Curator of European Art at the Brooklyn Museum, and Melissa Buron, now Director of Collections and Chief Curator at the Victoria and Albert Museum, the show juxtaposes Monet's Venice works with earlier pieces and those by contemporaries like Canaletto, Paul Signac, John Singer Sargent, and Pierre-Auguste Renoir. This dialogue highlights how Monet transformed a city long romanticized in art—think of Canaletto's precise vedute—into something profoundly personal and modern. For instance, the museum's own "Palazzo Ducale" (1908) hangs alongside "The Grand Canal, Venice" from the Fine Arts Museums of San Francisco, showcasing Monet's mastery of atmospheric effects.
What makes "Monet and Venice" a revelation is its multisensory approach, transcending traditional gallery experiences. Sonic installations by Niles Luther, the museum's composer in residence, evoke the lapping waves and distant bells of Venice, while subtle scents and immersive lighting transport visitors to the Adriatic. This innovative presentation aligns with contemporary museum trends, as seen in exhibitions at institutions like the Musée de l'Orangerie in Paris, home to Monet's monumental Water Lilies cycle, where similar environmental enhancements deepen emotional engagement.
Historically, Monet's Venice series was a commercial and critical triumph. Debuted in Paris in 1912 at the Galerie Bernheim-Jeune, the 29 completed paintings sold out, affirming Monet's relevance in an era dominated by emerging modernists like Picasso. Yet, as art historian Richard Thomson notes in the exhibition catalogue, these works also reflect sociohistorical undercurrents: Venice in 1908 was grappling with industrialization and tourism, themes Monet subtly wove into his hazy vistas. From an ecocritical perspective, essayist Jonathan Ribner explores how Monet's depictions anticipate modern concerns about rising seas and fragile ecosystems—pertinent today as Venice faces climate threats.
The show's scale—New York's biggest Monet-focused exhibition since the 1990s—underscores the Brooklyn Museum's commitment to Impressionism. Founded in 1897, the museum boasts a robust European art collection, including Monet's "Palazzo Ducale," acquired in 1921. This exhibition, co-organized with the Fine Arts Museums of San Francisco (where it will travel next), draws loans from prestigious institutions worldwide, reuniting pieces scattered since 1912. Lead sponsorship from the Ford Foundation, along with support from donors like Constance Christensen and the Arnold Lehman Exhibition Fund, enabled this ambitious project.
Beyond the Venice series, the exhibition traces Monet's artistic journey.
Early works like landscapes from Argenteuil demonstrate his initial fascination with light on water, a motif that culminates in the Venetian canvases. Later, his Giverny water lilies, painted amid vision impairment, echo the abstraction seen in Venice. For comparison, enthusiasts can explore the Metropolitan Museum of Art's Monet holdings, which include gems like "The Path through the Irises" (1914–17), illustrating his progression toward near-abstract expression.
Critics have hailed the show as transformative. As one review notes, it challenges the stereotype of Monet as merely a painter of pretty gardens, revealing a bolder, more experimental side. The absence of people in his Venice scenes creates an eerie, timeless quality, prompting reflections on solitude and impermanence. In a post-pandemic world, where travel and connection feel precarious, these paintings resonate deeply, inviting viewers to ponder the fragility of beauty.
The accompanying catalogue, with essays by scholars like André Dombrowski and Elena Marchetti, offers fresh insights from sociohistorical and ecocritical lenses. It positions Monet's Venice as a bridge to modernism, influencing artists from Matisse to Abstract Expressionists. For further reading on Impressionism's impact, the National Gallery of Art's Impressionism highlights provide an excellent resource.
Visiting "Monet and Venice" is more than an art outing; it's an immersion into a pivotal moment in art history. Practical notes include restrictions on large bags, with loaner totes available, ensuring a seamless experience. As the exhibition draws crowds, it reaffirms Monet's enduring appeal—his ability to make the ordinary sublime through brushstrokes of color and light.
This revelation in Brooklyn not only celebrates Monet's genius but also invites a new generation to appreciate how one artist's Venetian sojourn forever altered the landscape of painting. In a city as dynamic as New York, such shows remind us of art's power to transport and transform.
FAQ
What is the "Monet and Venice" exhibition about? The exhibition focuses on Claude Monet's 1908 trip to Venice, showcasing 19 of his Venetian paintings alongside over 100 other artworks, books, and ephemera to explore this underexplored phase of his career.
When and where is the exhibition held? It is at the Brooklyn Museum from October 11, 2025, to February 1, 2026.
Why is this New York's biggest Monet show in 25 years? It features the largest collection of Monet's works in a New York museum since the 1990s, including rare reunions of his Venice series not seen together since 1912.
What special features does the exhibition include? Multisensory elements like sonic installations by Niles Luther, immersive lighting, and scents evoke Venice, enhancing the viewing experience.
How does this show relate to Monet's overall career? It highlights his Venice works as a turning point, bridging his earlier Impressionist series with later abstractions, influenced by personal challenges and travels.
