![]() ![]() EdelmannĬlaude Monet: Das Mittagessen / The Luncheon / Le Déjeuner, 1868/69, Röntgenaufnahme, DetailĬlaude Monet: Das Mittagessen: dekorative Tafel / The Luncheon: decorative panel / Le Déjeuner : panneau décoratif, ca. Oil on canvas, 231,5 x 151 cm, Städel Museum, Frankfurt am Mainįoto: Städel Museum - ARTOTHEK - U. ![]() © Galerie Neue Meister, Staatliche Kunstsammlungen DresdenĬlaude Monet: Das Mittagessen / The Luncheon / Le Déjeuner, 1868/69 Oil on canvas, 55,5 x 46 cm, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden Oil on canvas, 97 x 130,5 cm, Ordrupgaard, KopenhagenĬlaude Monet: Pfirsichglas / Jar of Peaches / Bocal de pêches, ca. It was no longer necessary to mix the paint and it was easy to transport – a crucial factor when it comes to the increasing currency of plein air painting.Ĭlaude Monet: Die Straße von Chailly durch den Wald von Fontainebleau / The Chailly Road through the Forest of Fontainebleau / Le Pavé de Chailly dans la forêt de Fontainebleau, 1865 In addition the invention of the collapsible metal tube in 1841 had made painting outdoors easier. The Impressionists, too, had taken to these woods, especially as they were easily accessible with the railways since 1849. The group received its name because its members frequently worked in the Forest of Fontainebleau near the village of Barbizon. The artists of this movement had turned their backs on traditional landscape painting and instead pursued plein air painting. The so-called School of Barbizon had a great influence. This practice accommodated their interest in the representation of atmosphere and fleeting moments observed in nature. ![]() The Impressionists were fascinated with working out of doors. At the time nature was often sketched on location, however, the sketches merely served as the basis of the work later to be conducted in the studio. It is also included in many famous private collections.Especially in the first half of the 19th century plein air painting was not common practice. Monet's work is particularly well represented in the Louvre, the Marmottan (Paris), the National Gallery (London), the Metropolitan Museum of Art, and the Art Institute of Chicago. In the last decade of his life Monet, nearly blind, painted a group of large water lily murals (Nymphéas) for the Musée de l'Orangerie in Paris. However, by 1883 Monet had prospered, and he retired from Paris to his home in Giverny. In 1874 Sisley, Morisot, and Monet organized the first impressionist group show, which was ferociously maligned by the critics, who coined the term impressionism after Monet's Impression: Sunrise, 1872 (Mus. To do this he chose simple matter, making several series of studies of the same object at different times of day or year: haystacks, morning views of the Seine, the Gare Saint-Lazare (1876-78), poplars (begun 1890), the Thames, the celebrated group of Rouen Cathedral (1892-94), and the last great lyrical series of water lilies (1899, and 1904-25), painted in his own garden at Giverny (one version, a vast triptych c.1920 Mus. In his later works Monet allowed his vision of light to dissolve the real structures of his subjects. Eliminating black and gray from his palette, Monet rejected entirely the academic approach to landscape. He often showed natural color by breaking it down into its different components as a prism does. Monet's representation of light was based on his knowledge of the laws of optics as well as his own observations of his subjects. Rather than copy in the Louvre, the traditional practice of young artists, Monet learned from his friends, from the landscape itself, and from the works of his older contemporaries Manet, Corot, and Courbet. Monet soon began to concern himself with his lifelong objective: portraying the variations of light and atmosphere brought on by changes of hour and season. He and several of his friends painted for a time out-of-doors in the Barbizon district. In Paris, Monet formed lasting friendships with the artists who would become the major impressionists, including Pissarro, Cézanne, Renoir, Sisley, and Bazille. After two years (1860-62) with the army in Algeria, he went to Paris, over parental objections, to study painting. He adhered to its principles throughout his long career and is considered the most consistently representative painter of the school as well as one of the foremost painters of landscape in the history of art.Īs a youth in Le Havre, Monet was encouraged by the marine painter Boudin to paint in the open air, a practice he never forsook. ![]()
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