It is surprising that Monet, a painter devoted to the reflection of water and light, did not visit Venice until he was nearly 70 years old.

In his series of paintings devoted to the Church of San Giorgio Maggiore, he subordinated the architectural details in order to emphasize the light and color reflected on the surfaces of the building. The gondolas gliding across the Grand Canal are the only breaks in the dense web of pastel colors that defines the water.

Monet completed this canvas and his other Venetian scenes while working in his studio in France during the next few years.

From the artist to (Bernheim-Jeune, Paris) and (Durand-Ruel, Paris) in 1912; {1}sold by the latter to Mrs. Breckenridge Long (Christine Alexander Graham Long) [1888-1959], St. Louis, in 1912.{2} Laurence Minot [1866-1921], Boston;{3}by descent to his niece, Mrs. Henry M. Channing (Katharine M.)[b. 1883], Boston, by 1927;{4}estate of her husband, Henry M. Channing [1881- c. 1965], Sherborn, Massachusetts; sale (Parke-Bernet Galleries, New York) in 1965;{5}Mr. Richard C. Lockton, Indianapolis; given to IMA in 1970 (70.76).

{1} This painting was included in the exhibition "Claude Monet 'Venise'" at Bernheim-Jeune, Paris, June 1912, cat. no. 13.
{2}The early provenance is given in Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. 4, Paris, 1974-1991, no. 1749. The painting was included in the exhibition "A Collection of Works Owned in St. Louis and lent to the Museum, City Art Museum, St. Louis, July-November 1913, cat. no. 62 (ill.).
{3}As given in Wildenstein.
{4}Mrs. Henry M. Channing lent the painting to the exhibition "Claude Monet: Memorial Exhibition," Museum of Fine Arts, Boston, in January 1927, cat. no. 68; corroborated by a label on the back of the frame.
{5}Parke-Bernet, New York, Highly Important Impressionist and Modern Paintings and Drawings from Various Owners, 14 October 1965, lot no. 84 (ill.), identifies the painting's consignor as "the estate of Henry M. Channing Late of Sherborn, Mass."