Monet was reportedly reluctant to paint from the waterfront out of fear of conforming to other artists who were drawn to Venice, such as Renoir or Manet. Although the view from the hotel included the church of San Giorgio Maggiore, the painting appears to have been viewed from the waterfront known as the Riva degli Schiavoni, where the island forms a focal point of the view. Monet, the Britannia had a view, "if such a thing were possible, even more beautiful than that of Palazzo Barbaro." Monet painted looking out from this hotel, but not, it seems, in the case of this particular painting. Monet and his wife Alice stayed at the Palazzo Barbaro for a couple of weeks, and then moved to the Hotel Britannia, where they stayed until December.
ORIGINAL SAN GIORGIO MAGGIORE AT DUSK SERIES
With this technique, the paintings focused on the ‘nature of experience.’ He was particularly impressed by the Venetian sunsets, “these splendid sunsets which are unique in the world.” He had previously been inspired by other sunsets, such as those of Normandy (in Rouen Cathedral and Haystacks, his series of the 1890s) and London ( Houses of Parliament). Monet painted San Giorgio Maggiore in six various lighting conditions. To the right are the faintly visible domes of Santa Maria della Salute and the mouth of the Grand Canal. The painting focuses on the Church of San Giorgio Maggiore with its bell tower rising to the top of the painting. The forms are gently inserted, though not enough to disguise their identity. It depicts mysterious buildings that seem to magically appear from the surrounding landscape, they almost seem to float in the background. San Giorgio Maggiore al Crepuscolo is approximately two-by-three feet and painted in oil on canvas. San Giorgio Maggiore al Crepuscolo: Description of the painting
There is a version in the Bridgestone Museum of Art. The painting is normally on display there. She bequeathed it to the Art Gallery (now National Museum Cardiff) in Cardiff, Wales. One version of San Giorgio Maggiore at Dusk was acquired in Paris by the Welsh art collector Gwendoline Davies.
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