The artist Claude Monet, hearing about a certain dealer in paintings (Duran-Ruelle), drew a series of not two or three, but as many as eleven paintings, each of which depicted a foggy landscape with the building of the London Parliament on the banks of the Thames. All work, according to the author,
In general, Monet created at least 37 canvases of paintings on the theme of the London Fog, but it was difficult for him to write a series depicting Parliament. As he spoke, the images eluded him, constantly changing. Therefore, starting in 1901, he could finish it only by returning to his workshop in 1904.
What can be noted in each picture of the series? In an effort to convey all the density and materiality of the fog, the artist blurs all forms, erasing borders along the way (this is especially evident at the place where the surface of the water and sky converges). The boaters on some of the paintings are standing in their ships, trying to make out through the thick fog where they should sail. The buildings appear as a silhouette, a blurred shadow that is devoid of materiality, and only its reflection in the water proves that this is a voluminous building, and not a ghostly mirage.
The entire canvas is covered with thick and grainy strokes, which further enhances the effect of the nebula and allows you to convey the whole play of light, which is completely different from others in different paintings of the series. It is also interesting that the parliament building has somewhat unnatural proportions, which is most pronounced in the lengthening of the central tower, which is not typical of other paintings by the author. Perhaps this is a consequence of the processing of paintings in the studio, or perhaps a deliberate technique for creating the perfect composition in the form that the artist sees it.
In the paintings of the series “Parliament in London”, Monet was able to create the most colorful texture, achieving a single composition and conveying all the mood and all the images of the London fog.