Early in his career, Granet was already achieving notable success exhibiting his views of cloisters and churches at the Salon. His fame was firmly established by a painting of the choir of the Capuchin Church in Rome, which he exhibited in the 1819 Salon. The large, austere, and realistic view of a church interior acknowledged the artist's great admiration for seventeenth-century Dutch art. It became so renowned that Granet was called upon to produce more than a dozen versions after the original composition. Apart from these religious architectural compositions, the artist also created a series of astonishingly fresh and atmospheric watercolor landscapes of the park at Versailles. These drawings skillfully merged his sensitivity for light and atmosphere with his interests in architecture and ruins. The Snite's watercolor, one of Granet's many representations of churches, shows his loose deft, and transparent handling of the medium. Two small figures, conceivably monks, are set off against the bright light that emanates from deep within the archway. While the sense of structure and weight of the church's stone arch are plainly apparent, the entire small composition is suffused by the luminous effects of light and shadow.

from Spiro, Nineteenth-Century French Drawings (Notre Dame, 2007)