London calling | 26 October 2017

Madame Monet was bored. Wouldn’t you have been? Exiled to London in the bad, cold winter of 1870–71. In rented rooms above Shaftesbury Avenue, with a three-year-old son in tow, a husband who couldn’t speak English, and no money coming in. Every day roast beef and potatoes and fog, fog, fog choking the city. ‘Brouillardopolis’, French writers called it. Camille Monet had offered to give language lessons, but when she hadn’t a pupil — and Claude hadn’t a commission — she let him paint her, listless on a chaise-longue, book unread on her lap. Her malaise was ‘l’exilité’ — the low, homesick spirits of the French in England. ‘Meditation, Mrs Monet Sitting on a Sofa’ (1871) sets the scene for Tate Britain’s autumn exhibition Impressionists in London, which gathers works by the French artists who fled the Franco-Prussian War, the Siege of Paris, and the short-lived Paris Commune for London.