At the core of the exhibition are nine of Monet's paintings of the Gare Saint-Lazare, reunited here for the first time since their initial exhibition at the third Impressionist Exhibition in 1877. In fact, Saint-Lazare paintings were begun in January 1877 and shown that April, a time span that wouldn't afford the seasonal variations that characterize the series proper. In this picture, the indoor steam is a strikingly abstract flurry of brushstrokes that obliterates the station's roof. There is some irony, too, in the fact that Monet's greatest and most extended treatment of the urban landscape was itself the gateway to the countryside northwest of Paris that Monet always preferred. Among the illustrations in the show is an engraving by Auguste Lamy of the monumental Place de l'Europe bridge at the moment of its inauguration in 1868.
Similar engravings publicize the newly completed station.
The documentary section includes several fascinating period maps. One graphically demonstrates the effects of Haussmann rebuilding campaign. Countless new streets were marked in red with their dates of completion noted. As a result, the exhibition is like a football game where the half-time act seems the raison d'etre for the whole event. Manet's work introduces, concludes and is seen throughout the show.