Claude Monet (Best Of Collection)

Claude Monet (Best Of Collection)

Nina Kalitina, Nathalia Brodskaia

Language: English

Pages: 200


Format: PDF / Kindle (mobi) / ePub

The Best of series presents, as the name suggests, highlights from the work of renowned artists accompanied by biographical text

For Monet, the act of creation was always a painful struggle. His obsession to express emotions and to transmit light effects over nature was much more intense than his contemporaries. In his words: “Skills come and go… Art is always the same: a transposition of Nature that requests as much will as sensitivity. I strive and struggle against the sun…should as well paint with gold and precious stones.”

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into this rural idyll. Monet depicted these bridges many a time from many different angles. At times he also painted the train: its amusing little carriages blending in nicely with the landscape. He painted the Seine at Argenteuil using broken brushstrokes of colour, either pure or mixed with white, rapidly applying paint to canvas and completing the painting entirely in the open air. Regattas at Argenteuil (Musée d’Orsay, Paris), a rather small canvas with a dazzling blue sky, a red roof Woman

The State Hermitage Museum, St. Petersburg. 67 AC Monet_4C.qxp 68 5/27/2010 3:55 PM Page 68 AC Monet_4C.qxp 5/27/2010 3:55 PM Page 69 not entirely free from Romantic exaggeration, Monet’s marine views are simple and calm. It is apparent that the young Monet was more inclined to develop his own means of expression relying on a sensory experience with nature rather than to imitate the works of other painters. The First Impressionist Exhibition For Monet, as for every artist at the

horizon. This is indeed Brittany, but not only Brittany — it is the sea in general, its endlessness, its eternal battle with dry land. The painting is executed in varied, sensitive strokes, strictly following the form of the object portrayed — in this case, the cliffs. Monet set himself a rather different task in a landscape painted in that same year of 1886, The Rocks at Étretat (Pushkin Museum of Fine Arts, Moscow). Here too, the viewer is presented with a wide expanse of sea, bounded to the

AC Monet_4C.qxp 5/27/2010 3:15 PM Page 17 17 AC Monet_4C.qxp 5/27/2010 3:15 PM Page 18 AC Monet_4C.qxp 5/27/2010 3:15 PM Page 19 Ville-d’Avray was recognisable. No one was more sensitive to nature than Corot. Within the range of a simple grey-green palette he produced the subtlest gradations of shadow and light. In Corot’s painting, colour played a minor role; its luminosity created a misty, atmospheric effect and a sad, lyrical mood. All these characteristics gave his landscapes

Impressionists, and had seen Matisse and the “Fauves” at the Autumn Salon of 1905. In 1907 he had witnessed the appearance of Picasso’s Cubism. He had lost a son, dead in 1914, had watched the second go off to fight in the First World War, and had read the Surrealist Manifesto published by André Breton. The filmmaker Sacha Guitry has handed an extraordinary document down to us from the beginning of the twentieth century: scenes of famous old men and women of the time. The film preserved the

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