Claude Monet. Vol 2


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With Impression, Sunrise, exhibited in 1874, Claude Monet (18401926) took part in thecreation of the Impressionist movement that introduced the 19th century to modern art. All his life, he captured natural movements around him and translated them into visual sensations. A complex man and an exceptional artist, Monet is internationally famous for his poetic paintings of waterlilies and beautiful landscapes. He leaves behind the most wellknown masterpieces that still fascinate art lovers all over the world.
In this twovolume illustrated work, Natalia Brodskaya and Nina Kalitina invite us on a journey across time to discover the history of Impressionism and Monet; a movement and an artist forever bound together. Specialists of 19th and 20th century art, the authors shed light on the birth of modernity in art, a true revolution responsible for the thriving art scene of the 20th century.



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Published 31 December 2015
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EAN13 9781785256264
Language English
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Natalia Brodskaya & Nina Kalitina
Claude Monet Volume 2
Page 4: Photograph of Claude and Alice Monet in Piazza San Marco, feeding the pigeons. After a postcard from 1908. Formerly Jean-Pierre Hoschedé Collection.
Authors: Nathalia Brodskaïa and Nina Kalitina
Layout: Baseline Co. Ltd 61A-63A Vo Van Tan Street th 4 Floor District 3, Ho Chi Minh City Vietnam
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All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 9781785256264
Nathalia Brodskaïa and Nina Kalitina
Claude Monet Volume 2
His Life – The Pinnacle and the Crises
His Life – His Series
Works in Focus
The Time after Impressionism
MonetÊs Role in Art History
List of Illustrations
His Life – The Pinnacle and the Crises
H I S L I F E – T H E P I N N A C L E A N D T H E C R I S E S
ike many artists of his day and earlier times, Monet repeatedly sojourned and worked on the coast of Normandy, where Delacroix and Courbet had once painted many marine sLeascapes. Their recurrent motif is a cliff jutting out far into the sea, as inCliffs at Étretat(1886, scenes. Between 1883 and 1886 Monet often visited Étretat and produced many of his Pushkin Museum, Moscow), which was done from the dÊAmont rock near the Payen house.
The coastal town Étretat inspired several of MonetÊs seascapes and landscapes. Monet was not the only painter at the time to travel to the north of France in search of inspiration for his works. Both Delacroix and Courbet had already painted in Étretat, and Monet owned a watercolour by Delacroix.
Among them, Courbet, Pissaro, Manet, and Renoir also travelled to the Normandy coast. Monet frequently met with the writer and fellow Étretat resident Maupassant, who set most of his short stories in his hometown. The close relationship between art and literature and the two-sided th influence between the disciplines during the 19 century is clear.
In his later works, created on the north-western French coast, Monet captured spectacular views of the sea and the beach life in all of its rawness.
Among the steep cliffs on the various coastal areas, he directed his attention on three natural arches, Porte dÊAval, Manneporte, and Porte dÊAmont, and the seven-metre needle.
Because of the great interest, numerous artists on the Normandy coast consider the Manneporte as one of the most-often-portrayed rock formations.
Monet alone painted six images of the Manneporte, which can be seen as an important step towards his series. Of whichThe Manneporte near Étretat(vol. 1, p. 237) andThe Manneporte(Étretat) (vol. 1, p. 238) are integral.
His hometown Le Havre, a place he held deeply in his heart, would again be close to him in 1868 when he settled nearby in Étretat with his future wife Camille Concieux and their son Jean, doing so again in 1883, 1885, and 1886.
The power of the blue-green, partially violet water that broke into waves along the coast is seen in his paintings. He captured the raw weather, with its sudden changes from sunny to cloudy, and portrayed the lives of the local fishermen and their simple boats, moored on the pebble beach, as inThree Fishing Boats(vol. 1, p. 199) Monet often took many canvasses to the beach, and during the course of the day, alternated between previously started paintings,
The Boat, 1887. Oil on canvas, 146 x 133 cm. Musée Marmottan Monet, Paris.
Olive Trees in the Moreno Garden, 1884. Oil on canvas, 65.4 x 81.2 cm. Private collection.