After the close intimacy of Monet's garden paintings from Giverny, these dramatic pictures from Venice mark a return to painting on a monumental scale. This extraordinary work confirms that Monet's main interest was the effect of light. Traditionally the Palazzo da Mula would have been depicted in all its glory as the primary focus of a painting, with its architectural details accurately recorded. Here Monet has dispensed with this notion; the building has been cropped short so that the top floors are not shown and, by removing the sky and showing only part of the palazzo, he has disassociated it from its surroundings. The horizontal and vertical lines of the architecture provide him with a grid which he deconstructs. By focusing on the relationship between the colors of the water and the colors of the building, Monet has made the palazzo a part of nature rather than being apart from nature.
Some critics have found elements of abstract design in this painting. The emphasis on the grid work of the building and the fading away to nothing of the actual details of the stonework has led them to connect this with work by more established Abstract artists.
