New PDF release: Monet

By Monet, Claude; Brodskaia, Natalʹi︠a︡ Valentinovna

For Monet, the act of construction used to be continually a painful fight. His obsession with taking pictures gentle results in nature was once even more severe than that of his contemporaries. In his phrases: "Skills come and move ... artwork is often an analogous: a transposition of nature that requests as a lot will as sensitivity. I try and fight opposed to the sunlight ... should still in addition paint with gold and important stones."A attractive show of  Read more...

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Monet called on Troyon, an animal and landscape painter whose advice Boudin had earlier found valuable. Portrait of Madame Gaudibert 1868 oil on canvas, 216 x 138 cm Musée d’Orsay, Paris 34 35 Troyon made recommendations which Monet relayed in his letters to Boudin — he should learn to draw figures, make copies in the Louvre, and should enter a reputable studio, for instance that of Thomas Couture. Monet thus immediately identified the figures who would provide his artistic guidelines. At the Water’s Edge, Bennecourt 1868 oil on canvas, 81 x 100 cm The Art Institute of Chicago 36 37 These were the landscapists of the Barbizon school, who had pointed French landscape painting towards its own native countryside; Millet and Courbet, who had turned to depicting the work and way of life of simple people; and, finally, Boudin and Jongkind, who had brought to landscape the freshness and immediacy lacking in works of the older generation of Barbizon painters.

During the 1860s Monet had not yet determined his personal subject matter, but he had no wish to turn to historical, literary or exotic subjects. 5 cm Musée d’Orsay, Paris 50 51 He made it his priority to serve the truth and to keep pace with the times, and only experienced a slight uncertainty in deciding whether the landscape or scenes with figures should be the genre central to his work. Like most artists of his generation, Monet evinced no interest in tackling acute social problems. The Wooden Bridge 1872 oil on canvas Rau collection, the Dayton Art Institute, Dayton, Ohio 52 53 By the time Monet’s generation began appearing on the artistic scene, the hopes inspired by the 1848 revolution had been shattered.

At the Water’s Edge, Bennecourt 1868 oil on canvas, 81 x 100 cm The Art Institute of Chicago 36 37 These were the landscapists of the Barbizon school, who had pointed French landscape painting towards its own native countryside; Millet and Courbet, who had turned to depicting the work and way of life of simple people; and, finally, Boudin and Jongkind, who had brought to landscape the freshness and immediacy lacking in works of the older generation of Barbizon painters. La Grenouillère 1869 oil on canvas, 75 x 100 cm The Metropolitan Museum of Art New York 38 39 Monet was to paint alongside several of these masters — Boudin, Jongkind, Courbet (and Whistler, too) — and by watching them at work he would receive much practical instruction.

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