Claude Monet (Best Of Collection) by Nina Kalitina, Nathalia Brodskaia PDF


By Nina Kalitina, Nathalia Brodskaia

The Best of sequence provides, because the identify indicates, highlights from the paintings of well known artists followed by way of biographical text

For Monet, the act of production was once consistently a painful fight. His obsession to precise feelings and to transmit mild results over nature used to be even more extreme than his contemporaries. In his phrases: “Skills come and go… artwork is usually an identical: 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 important stones.”

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Additional info for Claude Monet (Best Of Collection)

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Wildenstein’s dating of this painting to 1868 in his comprehensive catalogue of Monet’s work appears erroneous. It should also be pointed out that the year 1867 indicated in the catalogue of the Fourth Impressionist Exhibition was certainly provided by Monet himself. Part of the same scene is shown in the study Garden in Blossom (p. 18), which is in the Musée d’Orsay in Paris. From Figure Painting to Landscape Painting Like most artists of his generation, Monet evinced no interest in tackling acute social problems.

He wrote Boudin from Paris that a little group of young landscape artists had formed at the studio, and that they would be happy to meet with him. 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 naiveté, was combined with subtle observation of the Normandy shore’s variable nature. Monet remembered that Jongkind explained to him all the “whys and wherefores” of his style, rounding out the education he had received from Boudin.

And yet while in some ways following a well-trodden path, Monet already displayed originality. By no means all young artists find their distinctive creative personality at an early stage. Some can spend years finding themselves as tradition holds them in thrall, inducing a continual sense of dissatisfaction, and Monet did not completely escape such feelings. On one occasion he took advice from Gustave Courbet and made certain alterations in a painting but, still not pleased with the result, abandoned it and eventually cut the canvas into pieces.

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