The de Young Museum’s exhibition Monet and Venice offers a compelling portrait of late-life renewal, showing Venice not simply as a subject for Monet but as an emotional and atmospheric catalyst. Seen against the backdrop of the 2026 Venice Biennale, the show opens up a wider reflection on beauty, memory, mourning and the elusive task of painting a city already saturated with images.
Text by Jo Vickery
I arrived in Venice for the opening of the Biennale from another Venice altogether: the Venice depicted in Claude Monet’s paintings, currently on view at the de Young Museum in San Francisco.
Venice seems to have acted as a kind of emotional catalyst for Monet. Bringing emotional narrative into art history feels very contemporary, and this is reflected in the curatorial approach of the exhibition, curated by Lisa Small and Melissa Buron. Monet had been painting water lilies since the late 1890s, but it was only later in his career that they evolved into the large-scale compositions which would eventually dissolve almost all sense of place beyond lilies, water, light and reflection. Only half a year after returning from Venice, he presented his major breakthrough exhibition of forty-eight Water Lilies at Galerie Durand-Ruel in Paris.
It is not always easy to see, in the Venice paintings, what one finds in the late Water Lilies, beyond a merging of architecture, water and light into a seamless whole. The curators use the idea of the “envelope” to describe the atmosphere of Venice: a city where forms are not simply seen, but held within air, mist and reflection. Unlike Normandy or the South of France, Venice has a mystery and shrouded luminosity that gives Monet’s paintings a different mood and emotional register from the quintessential French impressionist painting.
The exhibition works on many levels and can be considered something of a blueprint for a successful museum show today. Its subject is immensely attractive: Monet and Venice. Yet it also revisits an episode with which even seasoned exhibition-goers and art historians may be less familiar. The downside, perhaps, is a certain exaggeration in the creation of drama. For sticklers who prefer facts and exactitude, the vintage photographs of Venice from Monet’s time, together with the map of buildings visited by the Monets and the viewpoints he depicted, may not be quite enough.
Still, there is little not to love about this uplifting exhibition. At its heart is a human story about how one can move forward from a place of creative or emotional stasis, even in the autumn of life, and still go on to make work that may later define one’s greatest achievements. Yet perhaps it was not the atmosphere of Venice alone that shines through Monet’s late work, but rather the artist’s acute sense of mortality, and the loneliness that followed the death of Alice.
Fast forward to today the ideas behind the 2026 Venice Biennale — atmosphere, mourning, ambiguity and attunement, captured in the title In Minor Keys — seem to vibrate quietly with Monet’s Venetian paintings. In several places, the curators emphasise his attempt to capture not architecture or water as such, but air, atmosphere and the enveloping presence of the city. This connects deeply with the late Koyo Kouoh’s noble and beautiful curatorial approach: a turning away from loud spectacle and ideological proclamation. Yet, for now, it is perhaps the noise that remains most palpable.
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