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The Train in the Snow, or, Le train dans la neige, is a landscape painting by the French Impressionist artist Claude Monet. The work depicts a train surrounded by snow at the Argenteuil station in France. Art historians see the work as a significant example of Monet's efforts to integrate nature and industry in his work. Many historians believe that Monet, out of all of the notable nineteenth century artists, made the most paintings of trains in his lifetime.

Art historians typically emphasize the dividing lines of the piece created by the fence, trees, and tracks as well as the dark smoke produced by the locomotive. However, these historians derive different meanings from the painting, though they overall reference themes of industry and motion. Scholars also note the important connections between Monet's painting and contemporary works of literature, particularly those of Emile Zola.

Background
With the outbreak of the Franco-Prussian War, Monet and his newly wedded wife Camille fled England for fear of Monet's military conscription. In late 1871, the couple settled in Argenteuil along the Seine. Scholar Marian S. Robinson comments that Monet lived "practically in the shadow of the huge glass-roofed station" of Gare St. Lazare, giving the painter easy access to the neighboring station and trains. While many of Monet's paintings of trains come from the Gare St. Lazare Station, The Train in the Snow was actually captured at Argenteuil station, which was the artist's "commuter stop." At the time of Monet's residence, Argenteuil was located in a suburban section of France, connected by railway to Paris, Le Havre, and Rouen; trains and engines were in constant view at Argenteuil station because of their storage or redirection there. Throughout the winter of 1874-1875, Monet continuously painted snow scenes in and around his home at Argenteuil. Fascinated by the trains traveling through his local station on their way to Paris, the artist "set up his easel on the platform of the [Argenteuil] station," as was his method of painting such train scenes like The Train in the Snow. Out of his many paintings of trains, Monet seems to have only painted three scenes from 1875-1876 that take place in the snow, including this particular painting.

Content
The painting depicts a steam-engine train just arrived at Argenteuil Station, where many travelers are gathered on the platform waiting to board. As in most of Monet's snowscapes at Argenteuil, the composition of The Train in the Snow is "enlivened" by the painted figures on the station platform who "disrupt the stasis of winter." As an example of this, the viewer can clearly see the signal man readying for the train's departure as he stands towards the front of the engine, adjacent to the stop sign on the platform.

Use of color
Though the painting is portrayed in the bleak winter, Monet's use of color brings the composition together. Art historian and conservator of the Musée Marmottan Monet Marianne Delafond focuses her analysis of the painting on the smoke that billows from the dark train; she describes the smoke as "belching" outward from the train and blending into the "sky as cold and grey as the snow covering the track." Similarly, literary scholar Marian Robinson describes the smoke as a kind of "bas-relief against the duller sky." However, the smoke is not monochromatic as there are hints of purple within the mist. Other hints of color present within the painting include red and yellow lights emanating from the dark locomotive. The red, focused most intensely at the front of the train, seems to "bloody the snow." The yellow lights, in contrast, are not only brightly painted on the front of the engine, but appear at the vanishing point as well.

Technique and effects
Art historian Paul Hayes Tucker emphasizes the depth of Monet's painting in his interpretation; despite the viewer's vantage point being no more than 30 meters away from the train, Tucker claims that "industry and the grittier side of modern developments seem far away." The main part of the train, though it is relatively close to the viewer, is "suffused and dematerialized in the snow-filled air." The Train in the Snow is also widely seen as an example of Monet's attempts during the 1870s to reconcile receding perspective with his exploration of surface effects. These surface effects are produced by Monet's own dark signature and the "vigorous accents added on the snow... very late in the execution of the canvas, "thus giving the composition a textured effect. Furthermore, the effect of the train cars and station platform disappearing on the horizon are achieved through the "hazy outline" that blends the solid elements with the sky.

Tucker also notes how the train, though evidently stopped at the station, seems to evoke motion and implies movement. He attributes this optical illusion to Monet's use of converging lines created by the diagonals of the trees, fence, and train tracks, as well as the "sleek" nature of the engine itself. The "suggestion of motion and power" in Monet's engines is seen by some scholars as "an apocalyptic vision of potential destruction" brought on by the Industrial Revolution.

These diagonals seem to be elements that many art historians focus on in their analyses of The Train in the Snow. John House describes the wooden fences as an interruption of the "flow of space" because they divide up the foreground of the scene. James Rubin, on the other hand, believes that the lines of the fence and trees combined with the "softening effects of snow" sets the train in the "residential refuge" of suburban Argenteuil. Rubin also believes that the neat row of trees reflects the station's "recent landscaping," emphasizing the effects of the Industrial Revolution.

Monet and Zola
Literary scholar Marian S. Robinson emphasizes the connection between this work and French novelist Emile Zola's contemporary work. Robinson notes a particular scene in Zola's novel La Bete Humaine that seems to echo the imagery of Monet's The Train in the Snow; she claims that Monet's engine "bloodies" the snow in the same way that is described in Zola's imagined scene, which also features a train caught in a snowfall or blizzard. Additionally, Robinson claims that Monet's colors in The Train in the Snow "tint the dullness" that matches "the ominous heaviness of Zola's brief scene." Zola was quite familiar with Monet's train paintings, writing a positive review about them on display at the Third Impressionist Exhibition held in April 1877. Tucker also notes the similarities between Monet's "poetic" portrayal of the railway in The Train in the Snow and Zola's later writings. Thus, it is possible to say that Monet may have had an influence on Zola's work.

History of Acquisition
The Train in the Snow was purchased from Monet in by "one of his first admirers" Doctor Georges de Bellio. de Bellio urged Monet to sell it to him if Monet would not keep it himself as he was afraid that the painting would "fall into the hands of a fool." After his successful purchase, the doctor loaned The Train in the Snow to a Monet exhibition at the Galerie Durand-Ruel in 1883, where it attracted much positive attention from critics. In 1940, the painting was donated to the Musée Marmottan Monet in Paris by Bellio's daughter and son-in-law, Victorine and Don Eugene Donop de Monchy, where it still remains on display today.

Gallery
Monet's other paintings of trains that take place at or near Argenteuil Station, both painted during his residency at Argenteuil. Train in the Snow at Argenteuil, 1875, private collection                               The Railroad Station at Argenteuil, 1872, Musée Tavet-Delacour