Monet, Claude (1903). Waterloo Bridge, Sunlight Effect [oil on canvas]. Collection of Mr. and Mrs. Martin A. Ryerson, 1993.1163.

This painting contrasts superbly to the 1900 work of the same subject. The subject and elemental strokes used to render it are the same. The direction of the light source, tone and color palette are all quite different, if not wholly inverted. | 

The subject is lit up more than the previous work, vice back-lit. This painting is as strong as the 1900 version at creating an impression in the observer’s mind, but in this case that impression is warmer and lighter. Brush strokes are somewhat laterally abbreviated when compared to the previous version, and the overall construction of the background is a little more roughly textured. Full value is again used, and the color scheme widens and shifts to an analogous lilac/blue, with excellent use of complementary high-key yellows, oranges and browns.

The detail of the architectural elements marking the beginning and end of each of the bridge’s arches are foundational to the sense of space in this work, in contrast to their near-absence in the previous. They create rhythmic convergence, causing the eye to follow them into the canvas. Like the previous work, diminishing detail, atmospheric perspective and value calibration also serve to create a believable sense of depth. The reversal of the placement of shadow with ambient light on the water and highlight on the architecture do not change this work’s sense of stable balance when compared to the previous version of this subject. 

The majority of value rests at the mid-range, providing a rich backdrop for the dense and light areas. A very subtle and expertly integrated value pattern is created. This painting seems quite colorful, when in actuality the colors are quite diluted. The strongest pictorial contrast is again on the bridge, but value highlights and shadows are inverted in their placement relative to the structure of the bridge. Warm and light colors are sparse, but the majority of them are spent on the bridge, which causes it to stand out on the canvas even more. The almost indistinguishable moments of these same hues in the sky and water serve to harmonize the entire canvas. 

The vitality this work has is all the more amazing when general color purity is considered. Like the previous rendering of this subject, specific detail is set aside to make more room for the intended impression. Monet makes this choice and executes this painting quite masterfully.