By Nina Kalitina, Nathalia Brodskaia
The Best of sequence offers, because the identify indicates, highlights from the paintings of popular artists observed through biographical text
For Monet, the act of construction used to be consistently a painful fight. His obsession to specific feelings and to transmit gentle results over nature was once even more excessive than his contemporaries. In his phrases: “Skills come and go… paintings is usually an analogous: a transposition of Nature that requests as a lot will as sensitivity. I try and fight opposed to the sun…should to boot paint with gold and priceless stones.”
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Additional info for Claude Monet (Best Of Collection)
Sample text
The static figures bring the coldness of mannequins to mind. qxp 5/27/2010 3:54 PM Page 63 profusion of detail characteristic of genre painting. In this scene, a young girl sets out the dishes on a tablecloth as a dog can be seen running in the foreground. Someone has carved initials and dates on the trunk of a birch tree, and behind it a young man is hiding. But already there is something here that points towards Monet’s future: the sun, as it pierces through the greenery of the trees, fragmenting the light into small, juxtaposed patches like a latticed window.
What was it that struck Monet during his first trip to Paris in 1859? An exhaustive reply is given by his letters from Paris to Boudin after his first visit to the Salon. The young provincial passed indifferently by the historical and religious paintings of Gustave Boulanger, Jean-Léon Gérôme, Paul-Jacques-Aimé Baudry and Jean Francois Gigoux; the battle-scenes depicting the Crimean campaign attract him not at all; even Delacroix, represented by such works as The Ascent to Calvary, St. Sebastian, Ovid, The Abduction of Rebecca and other similar historical paintings, seems to him unworthy of interest.
The concrete of one railroad bridge and the ironwork of another introduced an element of modern life 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 with a Parasol - Madame Monet and Her Son, 1875.