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Editorial Reviews
Product Description
Claude Monet (1840-1926) was the most typical and the most individual Impressionist painter. His long life he dedicated to a pictorial exploration of the sensations which reality, and in particular landscape, offer the human eye. But while Monet the painter was faithful and persevering in the pursuit of his motifs, his personal life followed a more restless course. Parisian by birth, he discovered plein-air painting as a youth in the provinces, where one of his homes, Argenteuil, has come to represent the artistic flowering and official establishment of Impressionism as a movement, with Monet as its creative leader. In his endeavor to capture the ever-changing face of reality, Monet went beyond Impressionism and thereby beyond the confines of self-contained panel painting: in Giverny he painted the Poplars, Grain Stacks and Rouen Cathedral series in which he addressed one motif in constantly new variations. Here, too, Monet laid out the famous garden with its water-lily pond which he was to paint on huge canvases well into the 1920s. He thereby sought to render not reality as objectively experienced, but rather that which takes place "between the motif and the artist". In their open, merely tenuously representational structure and impressive scale, his water lily paintings - created long before the currents of the contemporary avant-garde - point the way to the developments of the future.
Language Notes
Text: English (translation)
Original Language: German --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Claude Monet (1840-1926) was the most typical and the most individual Impressionist painter. His long life he dedicated to a pictorial exploration of the sensations which reality, and in particular landscape, offer the human eye. But while Monet the painter was faithful and persevering in the pursuit of his motifs, his personal life followed a more restless course. Parisian by birth, he discovered plein-air painting as a youth in the provinces, where one of his homes, Argenteuil, has come to represent the artistic flowering and official establishment of Impressionism as a movement, with Monet as its creative leader. In his endeavor to capture the ever-changing face of reality, Monet went beyond Impressionism and thereby beyond the confines of self-contained panel painting: in Giverny he painted the Poplars, Grain Stacks and Rouen Cathedral series in which he addressed one motif in constantly new variations. Here, too, Monet laid out the famous garden with its water-lily pond which he was to paint on huge canvases well into the 1920s. He thereby sought to render not reality as objectively experienced, but rather that which takes place "between the motif and the artist". In their open, merely tenuously representational structure and impressive scale, his water lily paintings - created long before the currents of the contemporary avant-garde - point the way to the developments of the future.
Language Notes
Text: English (translation)
Original Language: German --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Inside This Book
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First Sentence:
With hindsight we can see a still life Claude Monet painted at the outset of his long and prolific career (p.6) as a programmatic statement. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
waterlily paintings, studio boat Key Phrases - Capitalized Phrases (CAPs): (learn more)
Rouen Cathedral, Claude Monet, New York, Boulevard des Capucines, Saint-Romain Tower, Forest of Fontainebleau, Sun Rising, Auguste Renoir, Open Air Study, The Art Institute of Chicago, The Customs Post, The Luncheon, The Railway Bridge, Cap Martin, Charles Gleyre, Document Archives Durand-Rue, Emile Zola, Franco-Prussian War, Gustave Geffroy, Jean Monet, Mount Kolsaas, Museum of Fine Arts, Paul Durand-Ruel, The Metropolitan Museum of Art, The Walk New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Back Flap | Back Cover | Surprise Me!
With hindsight we can see a still life Claude Monet painted at the outset of his long and prolific career (p.6) as a programmatic statement. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
waterlily paintings, studio boat Key Phrases - Capitalized Phrases (CAPs): (learn more)
Rouen Cathedral, Claude Monet, New York, Boulevard des Capucines, Saint-Romain Tower, Forest of Fontainebleau, Sun Rising, Auguste Renoir, Open Air Study, The Art Institute of Chicago, The Customs Post, The Luncheon, The Railway Bridge, Cap Martin, Charles Gleyre, Document Archives Durand-Rue, Emile Zola, Franco-Prussian War, Gustave Geffroy, Jean Monet, Mount Kolsaas, Museum of Fine Arts, Paul Durand-Ruel, The Metropolitan Museum of Art, The Walk New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 4
books:
46
books
cite this book:
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- Claude Monet by Georges Clemenceau on page 90, and page 93
- Still Life by American Federation Of Art on page 94
- Claude Monet by National Gallery of Art on page 94
- Claude Monet, 1840-1926 by Karin Sagner-Duechting on page 94
- Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self by Steven Z. Levine on 13 pages
- Impressionists in Winter: Effets de Neige by Charles S. Moffett on 9 pages
- Monet or the Triumph of Impressionalism (Midi Series) by Daniel Wildenstein on page 219, page 251, and page 360
- Theory in Contemporary Art since 1985 by Simon Leung in Front Matter, and page 238
- Musee D'Orsay by Alexandra Bonfante-Warren on page 191, and page 258
See all 46 books citing this book
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