Claude Monet Paintings in London — Where to See Them

Bathers at La Grenouillère

1869

Monet captures a bustling Seine-side resort with moored boats, a footbridge, and figures glimpsed in swift, sketchy strokes. Painted rapidly on the spot as a study, it signposts Impressionism’s turn toward modern leisure and fleeting effects. Look for the way the horizontal bridge slices the view and how rough, flat brushmarks make water and light shimmer. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-bathers-at-la-grenouillere))

Lavacourt under Snow

A hamlet on a bend of the Seine lies under hard winter light, likely from the unusually cold winter of 1879–80. The picture shows Monet’s fascination with snow’s colors and atmosphere as he shifted toward painting motifs in series. Look for the strong diagonal of cottages and the broad, blue-laced sweeps of paint that build the great snowbank. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-lavacourt-under-snow))

Snow Scene at Argenteuil

1875

Monet records a suburban boulevard under winter skies, its figures trudging past wavy cart tracks that pull the eye into misty distance. It’s one of many Argenteuil canvases that study weather and light rather than anecdote. Notice the thicker paint in the foreground snow and the near-monochrome palette warmed by pinks. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil))

The Beach at Trouville

1870

Two fashionably dressed women sit close to us on a breezy Normandy beach, their faces shaded by parasols. Painted during a family stay, it reframes the coast as a modern holiday setting and was worked, at least in part, right on the sand. Look closely for grains of sand embedded in the paint and the brisk, sun-catching dashes of white. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-the-beach-at-trouville?utm_source=openai))

The Gare St-Lazare

1877

Inside Paris’s great iron-and-glass station, locomotives billow steam that turns the sky of a landscape into an indoor haze. One of a dozen views from 1877, it exemplifies Monet’s fascination with modernity and transient effects. Watch how the rigid roof girders counter the amorphous vapor and how freely the paint is laid. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-the-gare-st-lazare))

Irises

A path bordered by exuberant irises is painted with bold, thick strokes over a luminous white ground. Made around 1914–17, it belongs to Monet’s late garden works, likely executed as his cataracts altered his vision. Look for the bird’s‑eye viewpoint (as if from the Japanese bridge) and the raw, experimental handling of purple and blue. ([data.ng.ac.uk](https://data.ng.ac.uk/0CL3-0001-0000-0000.htm))

Water-Lilies, Setting Sun

Monet eliminates banks and bridge to focus on water, reflections, and the pink‑gold rays of a setting sun trembling across the pond. The late series experiments with vision itself—surface versus depth, horizontals versus the willows’ vertical reflections. Watch how a small clump of plants at lower left is the only cue to your position. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-water-lilies-setting-sun))

Still Life

Fruit on a white‑clothed table glows against a plain brown ground, echoing the quiet dignity of Chardin while pushing color and handling toward modernity. Painted about 1869, it shows Monet’s strategic engagement with a popular genre early in his career. Look for the careful balance of vibrant hues and deep shadows across the tabletop. ([nationalgallery.org.uk](https://www.nationalgallery.org.uk/paintings/claude-monet-still-life?utm_source=openai))

Autumn Effect at Argenteuil

1873

Monet paints the Seine and the town of Argenteuil from his floating studio, capturing gusty light on water and the blaze of autumn leaves. It’s a key Argenteuil-period canvas that he showed at the Second Impressionist exhibition (1876), celebrated for its fresh, modern view of a changing suburb. Look for the hot oranges against cool blue water, the parallel strokes on the river, and the bark textures scratched with the end of the brush. ([courtauld.ac.uk](https://courtauld.ac.uk/highlights/autumn-effect-at-argenteuil/))

Antibes

1888

During early 1888 in the south of France, Monet sought to translate the Mediterranean’s ‘jewel-like’ light, setting the warm pinks and oranges of Antibes against the strong greens and blues of a wind-blown pine and the sea. The work marks his shift from northern motifs to radiant southern color and atmosphere. Look for the sparkling color contrasts and the breeze-tossed pine that anchors the composition. ([gallerycollections.courtauld.ac.uk](https://gallerycollections.courtauld.ac.uk/object-p-1948-sc-276))