Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 49 works by Emile Claus in our catalogue
In short
Sunset over Waterloo Bridge (1916) is the Emile Claus painting that draws the most eyes. After it, the eye goes to The Old Gardener and Waterloo Bridge in the Sun (1916). Among the 49 works of Emile Claus in our catalog, these 49 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
In "Sunset over Waterloo Bridge" by Emile Claus, the structure of the bridge spans the entire width of the scene. Its stone arches emerge on both sides, anchoring the composition against the movement of the water. Near the left edge, a single boat floats upon the river, a quiet presence amidst the flow. The artist captures the essence of London during the sunset, using the light to define the meeting…
In his 1885 masterpiece, "The Old Gardener," Emil Claus offers a profound meditation on the quiet dignity of rural existence. This Belgian Realist work transcends a simple depiction of labor, evolving into a luminous study of light and the passage of time. Through a meticulous application of oil on canvas, Claus employs thin glazes of pigment to create a textural richness that allows light to penetrate the surface, imbuing the…
Waterloo Bridge in the Sun is an oil on canvas painting by Emile Claus. Created in 1916, this work captures an urban landscape centered on the Waterloo Bridge and the surrounding London skyline. The scene reflects a specific moment in the city, focusing on the architectural presence of the bridge as it spans the river under a bright, cloudy sky.
In the "Portrait of the Artist Marie Moreels" by Emile Claus, the viewer meets a single female figure in an intimate, oval-shaped bust-length composition. The perspective holds us at an eye-level, close-up view that establishes an immediate, quiet connection. Marie Moreels sits against a dark, neutral background, a choice that pushes her presence forward and focuses all attention on her head and shoulders. Her expression carries a weight of contemplation,…
There is a particular stillness found in the Belgian countryside, a sense of time slowing down as the light settles over the riverbanks. In this 1885 work, we find ourselves positioned low within a meadow, looking out toward the river Lys at Astene. The composition draws the eye through a foreground of wild, flowering vegetation, past two figures resting by the water, and toward the soft silhouettes of rustic buildings…
In the Impressionist oil painting Girls in the field by Emile Claus, two young girls move through a sunlit field. Created about 1892, the work focuses on these two figures as they walk toward the viewer. The subjects are positioned in the foreground, slightly off-center to the left. They wear dresses of muted grey and cool blue, which contrast against the surrounding landscape. The scene depicts a pastoral setting centered…
We are looking at Flaxweeding in Flanders, a work by the Belgian painter Emile Claus. Known in Dutch as Vlaswieden in Vlaanderen, this oil on canvas painting captures a quiet moment of communal labor within the Flemish countryside. It is a significant piece from 1887, a period when the artist was beginning to refine his specific approach to the landscape.
In the oil painting Ampelio, old fisherman of Bordighera, Emile Claus presents a tight, close-up portrait of an elderly man. The subject, identified as Ampelio, occupies the immediate foreground, positioned slightly to the left of the frame. His weathered skin and beard are rendered with heavy impasto, creating a tactile surface that emphasizes the physical textures of his face. The man is set against a coastal landscape that recedes into…
In this intimate portrait, titled Blonde Girl, the artist Emile Claus focuses our attention through a close-up view of a young girl's head and shoulders. She is captured in profile, her gaze directed toward the left of the frame. This positioning creates a sense of quiet contemplation, as if we are witnessing a private, fleeting moment. The composition relies on the tension between the soft features of the subject and…
The Portrait of Jenny Montigny is a painting by the Belgian artist Emile Claus. Created about 1902, this work depicts Jenny Montigny, who was herself a Belgian painter. The subject is positioned in a medium shot, seated slightly off-center while facing the viewer with a calm expression. She wears a large hat decorated with floral elements and a dress with visible folds.
Cows crossing the Lys River1899 · Royal Museums of Fine Arts of Belgium
12
Portrait of Anna de Weert1899 · Museum of Fine Arts Ghent (MSK)
13
Sunny Day1899 · Museum of Fine Arts Ghent (MSK)
14
Trees along the Lys1892 · Fin-de-Siècle Museum
15
Gathering Corn1894 · Museum of Fine Arts Ghent (MSK)
16
February Morning1895 · Alte Nationalgalerie
17
Canal in Zeeland1896
18
Winter1900 · Royal Museum of Fine Arts Antwerp
19
The Orchard in Spring1902 · Palais des Beaux-Arts de Lille
20
Flax harvesting1904 · Royal Museums of Fine Arts of Belgium
21
Sunny Lane1903 · Museum of Fine Arts Ghent (MSK)
22
Tree in the sun1900 · Museum of Fine Arts Ghent (MSK)
23
The Farm1904
24
The asters1906 · Royal Museums of Fine Arts of Belgium
25
Villa Zonneschijn1906 · Museum of Fine Arts Ghent (MSK)
26
Profile of a Woman and WheatsheavesMuseum of Fine Arts Ghent (MSK)
27
Sunset1911 · Museum of Fine Arts Ghent (MSK)
28
Bringing in the Nets
29
Waterloo Bridge, sun and rain1916 · Royal Museums of Fine Arts of Belgium
30
Noon in Estérel (Côte d’Azur)1914 · Museum of Fine Arts Ghent (MSK)
31
View of London: bank along the Thames1917 · Royal Museums of Fine Arts of Belgium
32
Morning Reflection on the Thames in London1918 · Museum of Fine Arts Ghent (MSK)
33
October Morning on the River Leie1901
34
Skaters1891 · Museum voor Schone Kunsten
35
The Gate1899
36
A Corner of My Garden1901
37
The receding bank, july
38
Last Sunbeams on the HoefjeKunstmuseum Den Haag
39
CowMuseu de Arte de São Paulo Assis Chateaubriand
40
De markt voor de schouwburg in AntwerpenRoyal Museum of Fine Arts Antwerp
41
In the Garden
42
A Meeting on the Bridge
43
Afternoon along the river
44
Haystacks in the Snow
45
Sky Study
46
Cows in the Pasture
47
Picking blossoms
48
Summer1893 · Royal Museum of Fine Arts Antwerp
49
The Beet Harvest1890 · Museum van Deinze en de Leiestreek
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Emile Claus | Paintings from this list |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 12 | Portrait of the Artist Marie Moreels, Girls in the field, Portrait of Anna de Weert |
 Royal Museums of Fine Arts of Belgium |
Brussels | 6 | Portrait of Jenny Montigny, Cows crossing the Lys River, Flax harvesting |
 Royal Museum of Fine Arts Antwerp |
Antwerp | 4 | Flaxweeding in Flanders, Winter, De markt voor de schouwburg in Antwerpen |
 Groeningemuseum |
Brugge | 1 | The river Lys at Astene |
 Art Gallery of South Australia |
Adelaide | 1 | Ampelio, old fisherman of Bordighera |
 Fin-de-Siècle Museum |
Brussels | 1 | Trees along the Lys |
 Alte Nationalgalerie |
Berlin | 1 | February Morning |
 Palais des Beaux-Arts de Lille |
Lille | 1 | The Orchard in Spring |
Pick a decade to see the original that defines it.
In the "Portrait of the Artist Marie Moreels" by Emile Claus, the viewer meets a single female figure in an intimate, oval-shaped bust-length composition. The perspective holds us at an eye-level, close-up view that establishes an immediate, quiet connection. Marie Moreels sits against a dark, neutral background, a choice that pushes her presence forward and focuses all attention on her head and shoulders. Her expression carries a weight of contemplation,…
In the Impressionist oil painting Girls in the field by Emile Claus, two young girls move through a sunlit field. Created about 1892, the work focuses on these two figures as they walk toward the viewer. The subjects are positioned in the foreground, slightly off-center to the left. They wear dresses of muted grey and cool blue, which contrast against the surrounding landscape. The scene depicts a pastoral setting centered…
The Portrait of Jenny Montigny is a painting by the Belgian artist Emile Claus. Created about 1902, this work depicts Jenny Montigny, who was herself a Belgian painter. The subject is positioned in a medium shot, seated slightly off-center while facing the viewer with a calm expression. She wears a large hat decorated with floral elements and a dress with visible folds.
In "Sunset over Waterloo Bridge" by Emile Claus, the structure of the bridge spans the entire width of the scene. Its stone arches emerge on both sides, anchoring the composition against the movement of the water. Near the left edge, a single boat floats upon the river, a quiet presence amidst the flow. The artist captures the essence of London during the sunset, using the light to define the meeting…
Sunset over Waterloo Bridge (1916). The Old Gardener and Waterloo Bridge in the Sun (1916) come next.
67 years old: Sunset over Waterloo Bridge dates from 1916, and Emile Claus was born in 1849.
Sunset over Waterloo Bridge, The Old Gardener, Waterloo Bridge in the Sun, Portrait of the Artist Marie Moreels, The river Lys at Astene, Girls in the field, Flaxweeding in Flanders, Ampelio, old fisherman of Bordighera, Blonde Girl and Portrait of Jenny Montigny. The ranking above gives each one's year and museum.
Our catalog holds 49 works by Emile Claus, dated from 1880 to 1918.
Mostly in Museum of Fine Arts Ghent (MSK) (Ghent), Royal Museums of Fine Arts of Belgium (Brussels) and Royal Museum of Fine Arts Antwerp (Antwerp). The museum table above lists them all.
In 1890s: 14 of the 49 works on this page were made then, Girls in the field among them.
On this page, the earliest is Portrait of the Artist Marie Moreels (1880) and the latest Morning Reflection on the Thames in London (1918).
Sky (7), Landscape (6) and Flowers (5), across the 49 works on this page.
Oil On Canvas, for 10 of the 49 works on this page.
Impressionism, judging by the originals on this page.
Portrait of the Artist Marie Moreels, Girls in the field and Portrait of Anna de Weert: the Museum of Fine Arts Ghent (MSK), Ghent holds 12 of the works on this page.
Born in Sint-Eloois-Vijve, a small village nestled along the banks of the River Lys in West Flanders, Belgium, on September 27th, 1849, Emile Claus’s life was inextricably linked to the landscape that would become the very essence of his art. The twelfth child in a large family—his father, Alexander, a grocer and publican, and his mother, Célestine Verbauwhede, a woman of Brabant skipper lineage—Claus’s early years were marked by a practical upbringing, far removed from the world of artistic pursuits. However, even as a young boy, he demonstrated an undeniable passion for drawing, spending Sundays embarking on a three-kilometer journey to Waregem to attend lessons at the local academy. This nascent talent, nurtured with dedication, ultimately led him to break free from his family’s expectations and pursue his artistic calling.
Initially discouraged by his father's reservations about a career in art, Claus found an unexpected champion in the renowned composer Peter Benoit, a neighbor and acquaintance of the family. Benoit, recognizing the young man’s potential, skillfully persuaded Alexander to allow Emile to study at the Antwerp Academy of Fine Arts. This pivotal decision marked the beginning of Claus’s formal artistic training, where he honed his skills under the tutelage of landscape painters Jacob Jacobs and Nicaise De Keyser. It was during this period that he began to develop a distinctive style—a luminous, impressionistic approach deeply rooted in the beauty of the Flemish countryside.
Claus’s early works were characterized by a realistic depiction of rural life, mirroring the daily routines of the Flemish peasantry. However, his artistic trajectory took a dramatic turn following his exposure to the Impressionist movement in Paris. Inspired by the vibrant colors and fleeting effects of light championed by Claude Monet, Claus began to experiment with new techniques, gradually shifting away from strict realism towards a more subjective and atmospheric style. This transition was further solidified through his association with other prominent intellectuals and artists of the time, including sculptor Auguste Rodin, writer Émile Zola, and Belgian novelists Cyriel Buysse, Emile Verhaeren, Pol de Mont, and Maurice Maeterlinck.
The move to *Zonneschijn* (“Sunshine”), a charming cottage near Deinze in 1883, proved to be a crucial turning point. The tranquil setting, with its expansive views of the River Lys, provided Claus with an ideal environment for developing his signature style—luminism. Luminism, as it evolved under Claus’s influence, was characterized by an intense focus on capturing the ephemeral qualities of light and atmosphere, often employing broken brushstrokes and a vibrant palette to evoke a sense of warmth and radiance. This approach distinguished Belgian luminism from its French counterpart, emphasizing the unique beauty of the Flemish landscape.
Claus’s artistic vision culminated in a series of iconic paintings that continue to captivate viewers today. *The Picnic* (1887), depicting a family enjoying a leisurely afternoon by the river, exemplifies his ability to capture both the idyllic beauty of the scene and the subtle nuances of light and color. Similarly, *The Beet Harvest* (1890) showcases his masterful use of broken brushstrokes and vibrant hues to convey the energy and drama of rural labor. His work *The Ice Birds* (1891), a poignant depiction of children playing on a frozen landscape, reveals a sensitivity to both the beauty and melancholy of winter.
Perhaps one of Claus’s most celebrated works is *Cows Crossing the Lys* (1899). Bathed in golden light and shimmering reflections, this painting embodies the essence of luminism—a celebration of the natural world rendered with exquisite detail and emotional depth. The painting's donation to the Museum of Deinze and the Lys Region, on the condition a museum would be built to house it, speaks volumes about its significance within the local community.
Emile Claus’s impact on Belgian art extends far beyond his individual achievements. He played a pivotal role in establishing luminism as a distinct artistic movement, fostering a vibrant community of artists who shared his passion for capturing the beauty of the Flemish landscape. His influence can be seen in the works of subsequent generations of Belgian painters, and his legacy continues to inspire artists today.
The First World War forced Claus into exile in London, where he continued to paint, producing a series of evocative studies of the River Thames under varying weather conditions. Returning to Astene after the war, he remained there until his death on June 14th, 1924, leaving behind a rich and enduring artistic legacy. Emile Claus’s paintings are not merely representations of landscapes; they are windows into a world of light, color, and emotion—a testament to the power of art to capture the beauty and essence of life.
