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Behind the Gare Saint-Lazare (1932). Behind the Gare Saint-Lazare is a black and white photograph taken by French photographer Henri Cartier-Bresson in Paris in 1932. The photograph has been printed at variable dimensions; the print donated by Cartier-Bresson to the Museum of Modern Art is listed at 35.2 × 24.1 cm. [1] It is one of his best known and more critically acclaimed photographs and ...
The Gare Saint-Lazare is mentioned or plays a role in Émile Zola's La Bête humaine and Roland Sadaune's Terminus St-Lazare. The Gare Saint-Lazare is seen in the 1995 film French Kiss with Kevin Kline and Meg Ryan. It is the last scene in Paris where Kevin Kline's character is being chased by Police Inspector Jean-Paul Cardon while trying to ...
But many of his most renowned photographs, such as Behind the Gare Saint-Lazare, are of seemingly unimportant moments of ordinary daily life. Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant.
Painting on site, Monet had to deal with the incoming and outgoing trains and crowds of passengers. When he sketched and started painting, his view must have been blocked by steam and smoke. In 1889, critic Hugues Le Roux recalled Monet's working process in the Gare Saint-Lazare: Claude Monet, La Gare Saint-Lazare, le train de Normandie, 1877 ...
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English: After his return to France from London, Monet lived from 1871-78 at Argenteuil, on the Seine near Paris. In January 1877 he rented a small flat and a studio near the Gare St-Lazare, and in the third Impressionist exhibition which opened in April of that year, he exhibited seven canvases of the railway station.
La_gare_Saint-Lazare,_Les_signaux_1877_Claude_Monet.jpg (663 × 540 pixels, file size: 83 KB, MIME type: image/jpeg) This is a file from the Wikimedia Commons . Information from its description page there is shown below.
Arrival of the Normandy Train, Gare Saint-Lazare, also known as The Railway Station of Saint Lazare in Paris, is a c. 1877 oil-on-canvas painting by Claude Monet. It is in the permanent collection of the Art Institute of Chicago. [1]