Length1h 22m
About this audiobook
For Claude Monet the designation 'impressionist' always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L'Académie Suisse, established by an ex-model on the Quai d'Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre's studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore's variable nature. At this time Monet's landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin's seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet's work is in line not only with Manet's Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, "My studio! I've never had a studio, and I can't see why one would lock oneself up in a room. To draw, yes – to paint, no". Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, "There's my real studio."Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet's, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Audiobook details
GenreOther
Length1 hr 22 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Monet
2© Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA
3Biography
4of Gleyre.
51880: 1881: Works at Vétheuil, Fécamp and, in December, at Poissy.
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6Many literary descriptions of Monet’s
7Both the visual and the literary portraits of
81865 oil on canvas, 97 x 130 cm Ordrupgaardsamlingen Charlottenlund-Copenhagen
9processes and attitudes towards his own
10Bazille and Camille (Study for the "Luncheon on the Grass")
11museum collections of significance, no
121866 oil on canvas, 231 x 151 cm Kunsthalle, Bremen
131866 oil on canvas, 49 x 65 cm private collection
14people, animals, buildings and trees in the
15Luncheon on the Grass
16again in the Studio.” These words could
171866 oil on canvas, 256 x 208 cm Musée d’Orsay, Paris
18Paris, and then again in Normandy, but this
19around him and the beauties of nature.
20during his first trip to Paris in 1859? An
211867 oil on canvas, 80 x 99 cm The Hermitage, St. Petersburg
22Gérôme, Baudry and Gigoux; the battle-
23Theodore Rousseau
241868 oil on canvas, 216 x 138 cm Musée d’Orsay, Paris
25studio, for instance that of Thomas Couture.
26At the Water’s Edge, Bennecourt
27Moreover Gleyre, although an advocate
281870 oil on canvas, 54 x 66 cm Szépmüvészeti Múzeum, Budapest
29from the earliest stage of his career Fate
301871 oil on canvas, 47 x 73 cm National Gallery, London
31development of his work very attentively.
321871 oil on canvas, 48 x 73.5 cm Ny Carlsberg Glyptotek Copenhagen
33not so much imitate Manet as imbibe the
34Discussions, arguments and, most
351872-1873 oil on canvas, 50 x 65.5 cm Musée d’Orsay, Paris
36whether the landscape or scenes with figures
371872 oil on canvas Rau collection, the Dayton Art Institute, Dayton, Ohio
38apparently unshakeable Second Empire
39Progressively minded artists
40The
411873 oil on canvas, 50 x 65 cm Musée d’Orsay, Paris
421875 oil on canvas, 48 x 63 cm Musée Marmottan, Paris
43as in the Portrait of Madame Gaudibert
441873 oil on canvas private collection
45Nonetheless these early attempts at figure
46The Road Bridge at Argenteuil
47to natural laws.
481874 oil on canvas, 50 x 64 cm Kröller-Müller Museum, Otterlo
49more human than his figure paintings. This
50Landscape with Figures, Giverny
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