Writers hypothesize that Monet was also inspired by contemporaries J. M. W. Turner and James Abbott McNeill Whistler, who were similarly fascinated by London's atmosphere.

[2][9] Thus, in 1899, Monet returned to London and rented a room in the Savoy Hotel, which offered an extensive viewpoint from which to begin his series of the city.

[1] On the other hand, recent analyses of solar positioning report that Monet's paintings "contain elements of accurate observation and may potentially be considered as a proxy indicator for the Victorian smogs and atmospheric states they depict.

John Sweetnam explains, "Comparisons with the actual bridge show that Monet compressed the solid and open parts of the deck into a mass that is both more consolidated and more extreme in its horizontally.

Specifically, Monet was both captivated and challenged by the ways in which the ever-changing London fog affected the appearance of the bridge.

"[11] John House further describes this concept, writing that this "colored atmospheric cloak... allowed... [Monet] to give his paintings, both singly and when exhibited in groups, the internal coherence and unity he sought.

"[11] Indeed, Monet experimented with ambience throughout his career, as seen in his Haystacks, Rouen Cathedral, and Water Lilies series.