When did Monet paint his waterlilies series?
Claude Monet
In 1877 a series of paintings at St-Lazare Station had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent. He was to further use this study in the painting of the effects of mist and rain on the landscape. The study of the effects of atmosphere was to evolve into a number of series of paintings in which Monet repeatedly painted the same subject (such as his water lilies series) in different lights, at different hours of the day, and through the changes of weather and season. This process began in the 1880s and continued until the end of his life in 1926.
Coquelicot
Claude Monet painted "Les Coquelicots" or "Poppies Blooming" in 1873.
La Promenade (Renoir)
The forest was a popular landscape subject for nineteenth-century French artists, particularly the forest of Fontainebleau. Before Renoir, Claude Monet (1840–1926) painted "Bazille and Camille (Study for "Déjeuner sur l'Herbe")" (1865), showing a couple together in the forest. In 1869, Renoir and Monet spent time painting together at La Grenouillère. By 1870, Renoir was living in Louveciennes with his mother. Throughout this decade, the eighteenth-century rococo art movement was back in style and Renoir embraced it. France declared war against Germany on July 19, 1870, starting the Franco-Prussian War. Renoir was conscripted and served four months in the cavalry but never saw combat.
Houses on the Achterzaan
Houses on the Achterzaan is a 19th-century painting by French artist Claude Monet. Done in oil on canvas, the work depicts riverside garden houses on the west shore of the Achterzaan river in Zaandam, the Netherlands. He painted it from the in the Zaan, facing northwest. The painting is in the collection of the Metropolitan Museum of Art.
Le Grand Canal
While there Monet completed a series of artwork on the Canale Grande painting the same motif at different times of the day. Monet had the habit of studying the same subject in a varying light, at different times of the day, which resulted during his active career in many distinct Monet series, like for example the "Water Lilies" series, "Poplar" series, "Rouen Cathedral" series, "Haystacks" series and "Charing Cross Bridge" series. Monet painted 37 works of Venice during his three-month stay in Italy, from October to December, including this painting and five more depicting the same theme, Canale Grande. One is hosted at the Fine Arts Museums of San Francisco.
The Magpie (Monet)
At the time, Monet's innovative use of light and color led to its rejection by the Paris Salon of 1869. Today, art historians classify "The Magpie" as one of Monet's best snowscape paintings. The painting was privately held until the Musée d'Orsay acquired it in 1984; it is considered one of the most popular paintings in their permanent collection.
Snow at Argenteuil
In December 1879 the painting was acquired from Monet by Théodore Duret. Recalling a conversation with the artist Édouard Manet, Duret years later reported that, ‘One winter he ["Manet"] wanted to paint a snow scene. I had in my possession just such a piece from Monet. After seeing it, he said “It is perfect! I would not know how to do better”, whereupon he gave up painting snow.’ The picture was acquired from Duret by the art dealers Boussod, Valadon et Cie of Paris in 1892; then by Harris Whittemore of Naugatuck, Connecticut in 1893. Acquavella Galleries of New York acquired the painting in the early 1970s, and then it was purchased by Simon Sainsbury in or around 1973. It was bequeathed by him to the National Gallery, London, in 2006 and it has remained there since.
Jean-François Millet
Despite mixed reviews of the paintings he exhibited at the Salon, Millet's reputation and success grew through the 1860s. At the beginning of the decade, he contracted to paint 25 works in return for a monthly stipend for the next three years and in 1865, another patron, Emile Gavet, began commissioning pastels for a collection that would eventually include 90 works. In 1867, the Exposition Universelle hosted a major showing of his work, with the "Gleaners", "Angelus", and "Potato Planters" among the paintings exhibited. The following year, Frédéric Hartmann commissioned "Four Seasons" for 25,000 francs, and Millet was named Chevalier de la Légion d'Honneur.
Claude Monet
Monet purchased additional land with a water meadow. In 1893 he began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. White water lilies local to France were planted along with imported cultivars from South America and Egypt, resulting in a range of colours including yellow, blue and white lilies that turned pink with age. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. This scenery, with its alternating light and mirror-like reflections, became an integral part of his work. By the mid-1910s Monet had achieved
Zaans Museum
In 2015, the museum acquired a painting from the Zaan period (4 June – 8 October 1871) of the French impressionist painter Claude Monet, entitled 'The Voorzaan and the Westerhem'. The scene shows a view of the Voorzaan, the section of the river to the south of the locks in the centre of Zaandam. Ships are sailing around the island Westerhem. On the island we see the sawmills turning: de Bakker, de Roode Leeuw and De Notenboom. Monet painted three different versions of this scene. Later, this type of 'series painting' came to be known as one of the hallmarks of Impressionism, a style with which Monet was experimenting in the Zaan region. He wrote the following in a letter to his friend, the painter Camille Pissarro: ‘Zaandam is quite remarkable and there is enough to paint for a lifetime. Houses in all colours, hundreds of mills, and delightful boats.’
Electra Havemeyer Webb Memorial Building
Claude Monet (1840–1926), a prominent leader of the Impressionist movement, stressed the importance of working outdoors and letting art illustrate the color and movement of the natural environment. Five landscapes by Monet are included in the Museum’s collection. In the 1880s and 1890s Monet captured the changing effects of natural light by creating series of paintings of the same subject in different weather and light conditions. His "Haystacks in the Snow" is part of a series of over thirty paintings of haystacks.
Tuileries Garden
The Orangerie (Musée de l'Orangerie), at the west end of the garden close to the Seine, was built in 1852 by the architect Firmin Bourgeois. Since 1927 it has displayed the series "Water Lilies" by Claude Monet. It also displays the Walter-Guillaume collection of Impressionist painting
Gather Ye Rosebuds While Ye May (Waterhouse painting 1909)
Gather Ye Rosebuds While Ye May is an oil painting on canvas created in 1909 by British Pre-Raphaelite artist, John William Waterhouse. It was the second of two paintings inspired by the 17th century poem "To the Virgins, to Make Much of Time" by Robert Herrick which begins:
Gather ye rosebuds while ye may,
Old Time is still a-flying;
And this same flower that smiles today,
Tomorrow will be dying.
The artwork was valued at $1.75-2.5 million by Sotheby's prior to auction in April 2007, although the painting went unsold.
Maurice Denis
From 1899 to 1911 Denis was also busy with graphic arts. For the publisher Vollard he made a set of twelve color lithographs titled "Amour", which was an artistic but not a commercial success. He then returned to making woodblock prints, doing a black-and-white series "L'Imitation de Jesus-Christ", in collaboration with the engraver Tony Beltrand, which published in 1903, then illustrations for "Sagesse" by the poet Paul Verlaine, published in 1911. In 1911 he began work on illustrations for "Fiorette" by Saint Francis of Assisi. For this project he traveled alone by bicycle through Umbria and Tuscany, making drawings. The final work, published in 1913, was filled with rich and colorful floral illustration. He also made highly decorative book designs and illustrations for "Vita Nova" by Dante (1907) and twenty-four illustrations for "Eloa" by Alfred de Vigny (1917). The last work, made during the midst of the First World War was more somber than his earlier work, largely colored in pale blues an greys.
Giverny
Claude Monet noticed the village of Giverny while looking out of a train window. He made up his mind to move there and rented a house and the area surrounding it. In 1890 he had enough money to buy the house and land outright and set out to create the magnificent gardens he wanted to paint. Some of his most famous paintings were of his garden in Giverny, famous for its rectangular "Clos Normand", with archways of climbing plants entwined around colored shrubs, and the water garden, formed by a tributary to the Epte, with the Japanese bridge, the pond with the water lilies, the wisterias and the azaleas.
Yasuhiro Ishimoto
Between 1973 and 1993 Ishimoto produced a number of in-camera color abstractions that appeared as covers for the Japanese magazine "Approach". In 1980, at the Museum of Modern Art, he photographed Monet's "Water Lilies" in detail and full size.
Springtime (painting)
"Springtime" was on display at an exhibition organized by the Impressionists at Durand Ruel's Paris Gallery, from March 30 to April 30, 1876. Monet exhibited 18 works, for which 6 of these works Camille had posed. During this exhibition, "Springtime" was given the more generic title of Woman Reading.
Mona Lisa
Leonardo da Vinci is thought by some to have begun painting the "Mona Lisa" in 1503 or 1504 in Florence, Italy. Although the Louvre states that it was "doubtless painted between 1503 and 1506", the art historian Martin Kemp says there are some difficulties in confirming the actual dates with certainty. In addition, many Leonardo experts, such as Carlo Pedretti and Alessandro Vezzosi, are of the opinion that the painting is characteristic of Leonardo's style in the final years of his life, post-1513. Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Leonardo's contemporary, Giorgio Vasari, "after he had lingered over it four years, [he] left it unfinished". Leonardo, later in his life, is said to have regretted "never having completed a single work".
Circa 1504, Raphael executed a pen and ink sketch, today in the Louvre museum, in which the subject is flanked by large columns. Experts universally agree it is based on Leonardo's portrait of "Mona Lisa". Other later copies of the "Mona Lisa", such as those in the National Museum of Art, Architecture and Design in Oslo and The Walters Art Museum in Baltimore, also display large flanking columns. As a result, it was originally thought that the "Mona Lisa" in the Louvre had side columns and had been cut. However, as early as 1993, Zöllner observed that the painting surface had never been trimmed. This was confirmed through a series of tests conducted in 2004. In view of this, Vincent Delieuvin, curator of 16th-century Italian painting at the Louvre museum states that the sketch and these other copies must have been inspired by another version, while Frank Zöllner states that the sketch brings up the possibility that Leonardo executed another work on the subject of Mona Lisa.
Le Déjeuner sur l’herbe (Monet)
Le Déjeuner sur l’herbe (English - "Dinner on the Grass") is an 1865-1866 oil on canvas painting by Claude Monet, produced in response to the 1863 work of the same title by Édouard Manet. It remained unfinished, but two large fragments are now in the Musée d’Orsay in Paris.
Shot Marilyns
Warhol actually painted five colored Marilyns in 1964 with different colored backgrounds: red, orange, light blue, sage blue, and turquoise and he stored them at The Factory, his studio on East 47th Street in Manhattan. Dorothy Podber (1932–2008), a friend of Factory photographer Billy Name, saw the recently completed paintings stacked against one another at the studio and asked Warhol if she could shoot them. Believing that she meant she wanted to photograph the paintings, Warhol agreed. Podber doffed her pair of black gloves, withdrew a small revolver from her purse, and fired a shot into the stack of four "Marilyn" paintings, which became known as "The Shot Marilyns." (The fifth painting with the turquoise background was not in the stack.)
The Magpie (Monet)
Monet's series of 11 paintings depicting "The Bridge at Argenteuil" (1874) also explored the use of colored shadows in its portrayal of the blue and purple shadow on the top portion of the bridge. Over the years, Monet became more and more obsessed with color and light. When his wife was dying in September 1879, Monet painted her in "Camille Monet on Her Deathbed" (1879), noting the "blue, yellow, grey tones". Monet told his friend, French statesman Georges Clemenceau (1841–1929), that he spent the time "focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face." Camille died from cancer at the age of 32. After her death, Monet largely ceased painting people, focusing instead on natural landscapes. Monet later returned to painting snow and colored shadows with "Grainstacks Snow Effect" (1891).
Joseph Bory Latour-Marliac
Joseph Bory Latour-Marliac (March 6, 1830, in Granges-sur-Lot, Lot-et-Garonne - January 26, 1911, botanical author abbreviation: Lat.-Marl.) was a French lawyer and horticulturalist noted for breeding water lily hybrids. Latour-Marliac founded a water lily nursery at Le Temple-sur-Lot in 1875. A display of his plants at the Exposition Universelle of 1889 in Paris attracted the attention of the painter Claude Monet who then obtained water lilies for his garden in Giverny from Latour-Marliac.
Le Jardin de l'artiste à Giverny
Le Jardin de l'artiste à Giverny (English:"The Artist's Garden at Giverny") is an oil on canvas painting by Claude Monet done in 1900 now the Musée d'Orsay, Paris.
Villa Mariani
Claude Monet visited the Moreno Gardens in 1884, and some of his paintings were painted right in the area that today corresponds to the garden of Villa Mariani. In a letter dated February 5, 1884 Monet wrote: "... a garden like this is indescribable, it is pure magic, all plants in the world grow there in the land and not appear cured, there is a tangle of palm trees of every variety, all kinds of oranges and tangerines ... "
Women in the Garden
Women in the Garden (French: "Femmes au jardin") is an oil painting begun in 1866 by French artist Claude Monet when he was 26. It is a large work painted "en plein air"; the size of the canvas necessitated Monet painting its upper half with the canvas lowered into a trench he had dug, so that he could maintain a single point of view for the entire work. The setting is the garden of a property he was renting. His companion Camille posed for the figures. Monet finished the work indoors, and used magazine illustrations to render fashionable clothing.
Kinetic art
By 1875, Monet's touch becomes very swift in his new series, beginning with "Le Bâteau-Atelier sur la Seine". The landscape almost engulfs the whole canvas and has enough motion emanating from its inexact brushstrokes that the figures are a part of the motion. This painting along with "Gare Saint-Lazare" (1877-1878), proves to many art historians that Monet was redefining the style of the Impressionist era. Impressionism initially was defined by isolating color, light, and movement. In the late 1870s, Monet had pioneered a style that combined all three, while maintaining a focus on the popular subjects of the Impressionist era. Artists were often so struck by Monet's wispy brushstrokes that it was more than movement in his paintings, but a "striking vibration".
Bords de la Seine à Argenteuil
The painting was acquired by David Joel in 1992 for £40,000. Joel is an art historian who has published two art books, the first a catalogue raisonné of the marine paintings of Charles Brooking, the second a history of Monet at Vétheuil and on the Norman Coast. The painting had previously been offered for sale at auction, but failed to reach its £500,000 reserve. The title "" along with the date, 1875, appears on the frame, and there is a painted signature of Claude Monet. In the years since he purchased it, Joel has attempted to establish it as an authentic Monet. The most widely accepted authority on Monet's work is the catalogue raisonné published by the Wildenstein Institute in Paris. The Wildenstein Institute has examined the painting once, after the death of Daniel Wildenstein, and does not accept it as genuine. Fiona Bruce (a journalist) and Philip Mould (an art dealer and historian) investigated the painting in the TV programme "Fake or Fortune?" first aired on 19 June 2011. The Art Access Research Centre scanned the picture using high resolution, infrared and X-ray photography. At the Lumiere Technology Centre the picture was scanned using a 240-megapixel camera and 13 light filters. The resulting image was examined by Iris Schaefer, the head of conservation at the Wallraf-Richartz-Museum in Cologne, who previously uncovered a fake Monet which had been accepted by the Wildenstein Institute. In her opinion, the Joel painting was genuine. The chemical analysis of paints used in the painting and signature were studied by Nicholas Eastaugh (Courtauld Institute of Art) and were found to conform precisely with Monet's palette and the mediums he used in 1873.
Le Grand Canal (Monet series)
Monet painted 37 works of Venice which he began during his stay in the city in 1908. These include a series of canvases of the Grand Canal. He had the habit of studying the same subject in a varying light, at different times of the day, which resulted during his career in many distinct series, like for example the "Water Lilies" series, "Poplar" series, "Rouen Cathedral" series, "Haystacks" series and "Charing Cross Bridge" series.
The Magpie (Monet)
Unusual weather phenomena, such as snow and mist, fascinated Monet because they altered the chromatic appearance of familiar topography. In such paintings as "The Magpie", one of Monet's early masterpieces, form dissolves under the combination of a greatly restricted color range, aerial perspective, and broken brushwork. A virtuoso color performance, the painting is an essay on the variations of white perceptible in the reflection of sun on crisp new snow. Wonderfully abstract passages of flat color, such as the strong violet shades along the fence, are divorced from the spatial realities of the objects portrayed.
Snow at Argenteuil
Snow at Argenteuil () is an oil-on-canvas landscape painting from the Impressionist artist Claude Monet. It is the largest of no fewer than eighteen works Monet painted of his home commune of Argenteuil while it was under a blanket of snow during the winter of 1874–1875. This painting—number 352 in Wildenstein’s catalogue of the works of Monet—is the largest of the eighteen. The attention to detail evident in the smaller paintings is less evident in this larger picture. Instead, Monet has rendered large areas of the canvas in closely like tones and colours of blue and grey. The application of smaller strokes of greens, yellows, reds and darker blues breaks up these large expanses, and the almost choreographed dispersal of these various colours helps bind the picture together. Paint at the depicted road surface is thicker than elsewhere in the painting, and impasto is suggestive of the feel of disturbed snow.
Claude Monet
After drawing a low ballot number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry ("Chasseurs d'Afrique") in Algeria for a seven-year period of military service. His prosperous father could have purchased Monet's exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of casbah scenes, a single landscape, and several portraits of officers, all of which have been lost. In a "Le Temps" interview of 1900 however he commented that the light and vivid colours of North Africa "contained the germ of my future researches". After about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monet's aunt intervened to remove him from the army if he agreed to complete a course at an art school. It is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter.
Beach in Pourville
Beach in Pourville (title in French: "La plage à Pourville, soleil couchant") is a painting by French artist Claude Monet. It is one of an 1882 series of oil-on-canvas works by Monet in the small seaside resort of Pourville-sur-Mer (now part of the "commune" of Hautot-sur-Mer), near Dieppe in northern France. Monet is considered one of the most important members of the group of painters identified as the Impressionists. The painting was bought by the National Museum, Poznań, Poland in 1906 and exhibited in the display of their collection.
Emile Gruppe
Although Gruppe is best known for his variety of impressionistic landscapes, he also painted figures and portraits. His modern style was largely inherited from the French Impressionist Monet. "Lily Pads," date and location unknown, one of Gruppe's landscapes, attests to Monet's influence; it is similar to some of the paintings in Monet's "Water Lily" series.
Tuileries Garden
The liberation of Paris in 1944 saw considerable fighting in the garden. Monet's paintings "Water Lilies" were seriously damaged during the battle.
Bords de la Seine à Argenteuil
The museum records show a large black and white photograph (16 cm by 30 cm) of the painting, sent by Paris art dealer Georges Petit, who owned the largest gallery in Paris in Rue de Seze. In June 1889 he mounted the great Monet/Rodin exhibition having persuaded his friend Monet to raise his prices. He showed 145 paintings, selling most of them. He remained Monet's second dealer, after Durand Ruel until he died in 1920. This photograph is the dealer's card, sent to Khalil in Cairo in 1918 and leading to his purchase of the painting. On the reverse of the photograph, in the top left corner, is written the number 5575, followed by "Claude Monet, Les Bords de la Seine a Argenteuil, 42.5x73cm". This number appears also on a label on the reverse of the painting itself (even the handwriting is identical). Stylistically, the label matches others which are known to be from the Georges Petit gallery, and the number implies that it was in Petit’s gallery in 1918, well before Monet’s death in 1926. The funeral was held at Giverny on 8 December, and the obituary was published by "Le Figaro" eight days later, illustrated by what appears to be the same photograph.
Musée de l'Orangerie
A cycle of Monet's water-lily paintings, known as the "Nymphéas", was arranged on the ground floor of the Orangerie in 1927. They are available under direct diffused light as was originally intended by Monet. The eight paintings are displayed in two oval rooms all along the walls.
The museum was closed to the public from the end of August 1999 until May 2006. For several months before it was closed there was a special exhibit of Monet's "Nymphéas" that were gathered from museums throughout the world. More than 60 of the 250 paintings he made of the water lilies in his garden were included. The walls were repainted in shades of purples and violet for this special exhibit. The Orangerie was renovated in order to move the paintings to the upper floor of the gallery.
Claude Monet
"Impression, Sunrise" was painted in 1872, depicting a Le Havre port landscape. From the painting's title the art critic Louis Leroy, in his review, "L'Exposition des Impressionnistes," which appeared in "Le Charivari", coined the term "Impressionism". It was intended as disparagement but the Impressionists appropriated the term for themselves.
San Giorgio Maggiore (Monet series)
Monet completed his paintings of Venice at home in France and in 1912 showed them in Paris. Buyers included the Welsh collector Gwendoline Davies, who bought three paintings.
Marsh with Water Lilies
Marsh with Water Lilies is a drawing by Vincent van Gogh. It was executed at Etten (now Etten-Leur) in June 1881.
Fondation Monet in Giverny
Claude Monet lived and painted in Giverny from 1883 to his death in 1926, and directed the renovation of the house, retaining its pink-painted walls. Colours from the painter's own palette were used for the interior -green for the doors and shutters, yellow in the dining room, complete with Japanese Prints from the 18th and 19th centuries, and blue for the kitchen. Monet had the nearby river Epte partially diverted for the gardens and hired up to seven gardeners to tend to it. Monet gained much of his inspiration from his gardens and believed it was important to surround himself with nature and paint outdoors.
Snow at Argenteuil
Most of Monet’s "Snow at Argenteuil" pictures from the winter of 1874–1875 were painted from locations close to the house on the boulevard Saint-Denis (now number 21 boulevard Karl Marx) into which Monet and his family had just moved. This particular painting shows the boulevard Saint-Denis looking in the direction of the junction with the rue de la Voie-des-Bans, with the river Seine out of sight to the rear, and the local railway station behind Monet’s back as he painted.
SEO (artist)
The larger part of her work is created in groups of images around a certain idea, motif or concept, like, among others, the series "My German Dreams", "Rice Fields", the "War" and the "Water lilies" series. In all groups there are very large formats, but the "Water lilies" tend to be especially monumental. In the exhibition in the Kunsthalle Rostock, "close encounter – robert rauschenberg – seo" in 2008 she showed a very large size painting with a lake and waterlilies and mountains in the background. The landscape was composed of images of really existing landscapes from different countries, making it a symbol of the world, The water lilies referred to all 47 species of water lilies, also making the rendering a symbol, besides its alluding to Monet, who was at the height of his water lily-images exactly 100 years earlier. The image consisted of more than 1 million paper scraps.
Claude Monet
In October 2013, Monet's paintings, "L'Eglise de Vetheuil" and "Le Bassin aux Nympheas", became subjects of a legal case in New York against NY-based Vilma Bautista, one-time aide to Imelda Marcos, wife of dictator Ferdinand Marcos, after she sold "Le Bassin aux Nympheas" for $32 million to a Swiss buyer. The said Monet paintings, along with two others, were acquired by Imelda during her husband's presidency and allegedly bought using the nation's funds. Bautista's lawyer claimed that the aide sold the painting for Imelda but did not have a chance to give her the money. The Philippine government seeks the return of the painting. "Le Bassin aux Nympheas", also known as "Japanese Footbridge over the Water-Lily Pond at Giverny", is part of Monet's famed Water Lilies series.
Winter landscapes in Western art
It is possible that a series of severe winters in France also contributed to an increase in the number of winter landscapes produced by Impressionists. Impressionist painters like Claude Monet, Alfred Sisley and Camille Pissarro started painting large numbers of winter landscapes in which they experimented with the use of light and color to paint what they called the "effets de neige" (the effects of snow). Other painters who painted winter landscapes but less frequently were Pierre-Auguste Renoir, Gustave Caillebotte and Paul Gauguin. The French master Claude Monet's first painting in his winter series of 140 paintings was "A Cart on the Snowy Road at Honfleur", which was followed by many other winter landscapes, including a long series with haystacks. In the painting "Boulevard Saint Denis", Monet sought to catch the moment when the sun was hidden behind the clouds during a light snowfall. In "The Magpie", Monet's largest and probably most widely known winter painting, he used blue-gray colors to depict shadows in the snow.
Claude Monet
Monet's "Le Pont du chemin de fer à Argenteuil", an 1873 painting of a railway bridge spanning the Seine near Paris, was bought by an anonymous telephone bidder for a record $41.4 million at Christie's auction in New York on 6 May 2008. The previous record for his painting stood at $36.5 million. Just a few weeks later, "Le bassin aux nymphéas" (from the water lilies series) sold at Christie's 24 June 2008 auction in London, lot 19, for £36,500,000 ($71,892,376.34) (hammer price) or £40,921,250 ($80,451,178) with fees, nearly doubling the record for the artist and representing one of the top 20 highest prices paid for a painting at the time.
Sunflowers (Van Gogh series)
Sunflowers (original title, in French: Tournesols) is the name of two series of still life paintings by the Dutch painter Vincent van Gogh. The first series, executed in Paris in 1887, depicts the flowers lying on the ground, while the second set, executed a year later in Arles, shows a bouquet of sunflowers in a vase. In the artist's mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions. About eight months later van Gogh hoped to welcome and to impress Gauguin again with "Sunflowers", now part of the painted "Décoration for the Yellow House" that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay. After Gauguin's departure, van Gogh imagined the two major versions as wings of the "Berceuse Triptych", and finally he included them in his Les XX in Bruxelles exhibit.
Claude Monet
From the late 1860s, Monet and other like-minded artists met with rejection from the conservative Académie des Beaux-Arts, which held its annual exhibition at the Salon de Paris. During the latter part of 1873, Monet, Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley organized the (Anonymous Society of Painters, Sculptors, and Engravers) to exhibit their artworks independently. At their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name. He was inspired by the style and subject matter of previous modern painters Camille Pissarro and Edouard Manet.
Boating on the River Epte
Between 1887 and 1890 Monet concerned himself with portraying scenes from the River Epte, which bathed this property at Giverny. The sisters Suzanne and Blanche Hoschedé posed for this series of pictures, their late father being banker Ernest Hoschedé, a patron of the arts and collector of Monet, and their mother, Alice, who became Monet’s second wife. This series began with "La Barque Rose" (private collection) and also worthy of mention are canvases "La Barque à Giverny" (Musée d'Orsay, Paris) and "En Barque" (National Museum of Western Art, Tokyo). The São Paulo Museum of Art picture, which also has a preparatory study, was mentioned by the artist himself on a letter to critic and friend Geffroy, dated June 22, 1890: “I am again vexed by things that are impossible to do: water with undulating vegetation on the bottom”. In fact one of the more singular characteristics of "The Canoe on the Epte" in the Monet context is the proximity of the water, which assumes at the lower part of the composition an almost tactile reality, as if the painter for once did not want to depict the luminous reflections of its surface, but its depth. Although it belongs to a series, the masp work is in this particular a unique case. Monet here announces materiality, and it is necessary to remember that this new visual dimension of water will only be obtained again over thirty years later in his paintings of the 1918-1924 period. His friendship with photographer Nadar and his genuine interest in photography explain the framing of the composition as well as the out-of-focus effect produced by the movement of the boat on the water to be seen in the Hoschedé sisters. In addition, a possible source of the São Paulo Museum of Art composition, as has been detected, is the Harunobu engraving, titled "Woman Collecting Lotus Flowers".
Claude Monet
Other series include "Poplars", "Mornings on the Seine", and the "Water Lilies" that were painted on his property at Giverny. Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Venice. In London he painted four series: "the Houses of Parliament, London", "Charing Cross Bridge", "Waterloo Bridge", and "Views of Westminster Bridge". Helen Gardner writes:
Haystacks (Monet series)
Monet's "Haystacks" series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather. For Monet, the concept of producing and exhibiting a series of paintings related by subject and vantage point began in 1889, with at least ten paintings done at the "Valley of the Creuse", and subsequently shown at the Galerie Georges Petit. This interest in the serial motif would continue for the rest of his career.
Water Lilies (Monet series)
On 6 May 2014, one of the "Water Lilies", "Le Bassin aux Nymphéas", was auctioned at Christie's, New York City for $27 million.[16]
The Death of Nelson (Maclise painting)
Maclise received the commission for two wall paintings in the Royal Gallery in 1857; these were to depict "The Meeting of Wellington and Blücher after the Battle of Waterloo" and "The Death of Nelson". However Maclise found that creating the works in fresco would prove too difficult, and he resigned the commission. He then discovered the waterglass technique (infusing the surface with sodium silicate) and resumed the commission. Maclise started work on "The Meeting of Wellington and Blücher" in January 1860 and completed it during the winter of 1861. He then submitted a sketch for "The Death of Nelson" to the Fine Arts Commission. However Prince Albert, the prime promoter of the Commission, died in 1861 and the Commission lost some of its momentum. It was not until 1863 that Maclise received permission to continue with the scheme. Between 1859 and 1864 Maclise created a plan for this picture; this was a painting that comprised a "finished study" for the work. This painting was purchased by the Walker Art Gallery in 1892 from the Art Union of London; the money for this was obtained from the Liverpool Naval Exhibition. The wall paintings did not survive well; by 1869 the colours were fading. However modern critics continue to praise "their serious and sombre realism and their expressive power".
André Derain
Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as "les Fauves", or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain presented a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work. Art critic T.G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight."
The Quai Saint-Michel and Notre-Dame
The Quai Saint-Michel and Notre-Dame is a 1901 oil on canvas painting by the French artist Maximilien Luce. Luce was part of the Neo-Impressionist movement between 1887 and 1897 and used the technique of employing separate dabs of color (divisionism), for the painting, which was one of ten he undertook of Notre Dame de Paris. The Musée d'Orsay in Paris, which holds the image , notes that this was painted by Luce when he was moving from his Neo-Impressionist period to his later Populist period. The Musée d'Orsay obtained the picture in 1981.
Regatta at Sainte-Adresse (Monet)
The Regatta at Sainte-Adresse is an oil-on-canvas painting by the impressionist painter Claude Monet. It was painted in 1867 and is owned by the Metropolitan Museum of Art.
The Magpie (Monet)
The Magpie () is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's fiancée Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
Gare Saint-Lazare
In 1877, painter Claude Monet rented a studio near the Gare Saint Lazare. That same year he exhibited seven paintings of the railway station in an impressionist painting exhibition. He completed 11 paintings of this subject.
Oscar-Claude Monet's series of the Gare Saint-Lazare train station was one of his most famous series in his lifetime. Monet was one of the most important and influential painters in the Impressionist movement in the 19th century. He was a strong proponent of plein-air landscape painting. Artists such as Gustave Caillebotte, Edgar Degas and Berthe Morisot, do this in order to accurately portray the scene in the moment instead of creating the painting from what they could remember. Monet and others who followed the Impressionism Movement were not accepted in the Salon de Paris, because of their rejection of the academies’ teachings of form, style, subject matter etc., so instead they decided to open a new exhibition on their own Impressionist Exhibition in April 1874.
Water Lilies (Monet series)
On 19 June 2007, one of Monet's "Water Lily" paintings sold for £18.5 million at a Sotheby's auction in London. On 24 June 2008 another of his "Water Lily" paintings, "Le Bassin Aux Nymphéas", sold for almost £41 million at Christie's in London, almost double the estimate of £18 to £24 million.
The Poem of the Soul
The Poem of the Soul is a series of oil on canvas paintings by Louis Janmot, produced between 1835 and 1881 and totalling eighteen paintings and sixteen charcoal drawings, all inspired by a 2800 verse poem by Janmot himself. The first works in the series were exhibited at the 1855 Exposition Universelle. The series tells of a soul's life on earth, incarnated in a young man, accompanied by his female double. His companion then disappears and he spends the rest of his life alone, as did the artist. The series is now in the Museum of Fine Arts of Lyon.
Butterflies (Van Gogh series)
Butterflies is a series paintings made by Vincent van Gogh in 1889 and 1890. Van Gogh made at least four paintings of butterflies and one of a moth. The metamorphosis of the caterpillar into a butterfly was symbolic to Van Gogh of men and women's capability for transformation.
Le Grand Canal
This painting was undertaken on Monet's trip to Venice in the autumn of 1908, when the artist responded to an invitation from the American woman Mary Young Hunter, to visit her at the Palazzo Barbaro, in Venice. Monet was 68 years old this year. Hunter was a friend of Monet's wife, Alice, who invited the couple to come to visit her in Venice, where she rented this palazzo. Initially Monet was not keen but he did decide to travel. Monet and his wife arrived in Italy on October 1.
Cone sisters
The Cone Collection includes pieces from world-famous artists: Matisse's "Blue Nude" (1907) and "Large Reclining Nude" (1935), Paul Cézanne's "Mont Sainte-Victoire Seen from the Bibémus Quarry" (c. 1897), Paul Gauguin's "Vahine no te vi (Woman of the Mango)" (1892), and Pablo Picasso's "Mother and Child" (1922). The Cone sisters collected throughout Matisse's career, accumulating 42 of his oil paintings, 18 sculptures, 36 drawings, 155 prints, and seven illustrated books, as well as 250 drawings, prints, and copper plates from Matisse's first illustrated book, "Poésies de Stéphane Mallarmé". Other Matisse works they acquired were the 1917 "Woman in a Turban (Lorette)", "Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard" (1928), and "Interior, Flowers and Parakeets" (1924). The 500 works by Matisse in the Cone Collection form the largest and most representative group of his works of art in the world.
Chichu Art Museum
The site features permanent installations by Walter De Maria and James Turrell, as well as painted works in the "Water Lilies" series by Claude Monet.
L'Enfant a la tasse
L'Enfant a la tasse or L'Enfant a la tasse, portrait de Jean Monet is an oil painting by Impressionist Claude Monet created in 1868. The painting – which features Monet's son Jean sitting next to a white and blue striped cup – is Monet's third painting to feature his son.
Wallraf–Richartz Museum
On February 14, 2008, the Wallraf–Richartz Museum announced that "On the Banks of the Seine by Port Villez", attributed to Claude Monet, was a forgery. The discovery was made when the painting was examined by restorers prior to an upcoming Impressionism exhibition. X-ray and infrared testing revealed that a "colorless substance" had been applied to the canvas to make it appear older. The picture was acquired by the museum in 1954. The museum, which will keep the forgery, still has five authentic Monet paintings in its collection.
List of works by Claude Monet
This is a partial list of works by Claude Monet (), (14 November 1840 – 5 December 1926) who was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to "plein-air" landscape painting. The term Impressionism is derived from the title of his painting "Impression, Sunrise" ("Impression, soleil levant").
Musée de l'Orangerie
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in the west corner of the Tuileries Gardens next to the Place de la Concorde in Paris. The museum is most famous as the permanent home of eight large "Water Lilies" murals by Claude Monet, and also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, Maurice Utrillo, and others.
Rouen Cathedral (Monet series)
The "Rouen Cathedral" paintings, more than thirty in all, were made in 1892 and 1893 in Rouen, Normandy, then reworked in Monet’s studio in 1894. Monet rented spaces in Rouen across the street from the cathedral as his temporary studio. In 1895 he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer’s gallery and sold eight of them before the exhibition was over. Camille Pissarro and Paul Cézanne visited the exhibition and praised the series highly.
Water Lilies (Monet series)
In June 2014, one of the Water Lilies, "Nymphéas", sold for $54 million USD at a Sotheby's auction in London. This piece was auctioned to an anonymous buyer, but the piece went on to be part of the exhibition "Painting the Modern Garden: From Monet to Matisse" at the Cleveland Museum of Art and the Royal Academy of Arts, London, starting in 2015. The co-chairman of Sotheby's modern and impressionist art department, Helena Newman, claims that the result is at the top of the original estimated selling price. This price was between 34 and 51 million USD.
Green Stripe
The Green Stripe ("La Raie Verte"), also known as Portrait of Madame Matisse. The Green Line, is a portrait by Henri Matisse of his wife, Amélie Noellie Matisse-Parayre. It is an oil painting on canvas, completed in 1905. It is named for the green band that divides the face in half, by which Matisse sought to produce a sense of light, shadow, and volume without using traditional shading. Matisse's colorism was shocking at the time. When the painting was exhibited in Paris in 1906 such works were being derisively labeled as the creations of Les Fauves (the wild beasts), along with similar works of André Derain and Maurice de Vlaminck.
Jean-François Millet
This is one of the most well known of Millet's paintings, "The Gleaners" (1857). While Millet was walking the fields around Barbizon, one theme returned to his pencil and brush for seven years—gleaning—the centuries-old right of poor women and children to remove the bits of grain left in the fields following the harvest. He found the theme an eternal one, linked to stories from the Old Testament. In 1857, he submitted the painting "The Gleaners" to the Salon to an unenthusiastic, even hostile, public.
Claude-Henri Watelet
Watelet had preceded his essay with his own experiments in gardening on an island in the River Seine that he owned, at Colombes (Hauts-de-Seine); there between 1754 and 1772 he created a "picturesque setting unique in French gardens at the time it was created," according to William Howard Adams. His Moulin Joly ("Pretty Mill") offered a residence, a farm, stables, a dairy, an apiary, a mill, walks, rides and vistas ornamented with sculpture, a flower garden and a physic garden, with a medical laboratory and an infirmary, uniting the beautiful with the useful. The inspiration for the new sensibility for an atmospheric garden – which a plan of the Moulin Joly shows to have had perfectly straight rides through the woods, is generally credited to the vision of painters in the generation of Watteau, who painted in the now-overgrown gardens laid out in the previous century. Watelin's inspiration may have come in part through his friend Boucher. In the 1740s Jean-Baptiste Oudry had access to the overgrown gardens of the prince de Guise at Arcueil and often brought younger artists to sketch with him in the neglected grounds; Boucher accompanied him on several occasions.
Louis-Maurice Boutet de Monvel
He was an early member of the Society of French Watercolourists, which had recently been founded by Édouard Detaille. One of the first watercolours he sent to their exhibition was a portrait of a young woman in Renaissance clothing; its great success opened the door for a career as a portrait painter. His skill at capturing the moods of children gained him many commissions from upper middle class parents. He received so many commissions for portraits that at one time he contemplated giving up book illustration (see below).
In 1876, he married Jeanne Labaigue of Orléans, and their first child was born three years later. Their son Roger would become a writer, and their son Bernard would become a painter. The need to support his family pushed him into commercial illustration. In 1881, he illustrated a children's reader, and this opened further commissions to illustrate children's books. He also began contributing illustrations to the children's magazine "St. Nicholas", continuing until 1890.
Morris Louis
In 1954, Louis produced his mature "Veil Paintings", which were characterized by overlapping, superimposed layers of transparent color poured onto and stained into sized or unsized canvas. The "Veil Paintings" consist of waves of brilliant, curving color-shapes submerged in translucent washes through which separate colors emerge principally at the edges. Although subdued, the resulting color is immensely rich. In another series, the artist used long parallel bands and stripes of pure color arranged side by side in rainbow effects. The painting "Tet" is a good example of his "Veil Paintings".
Vétheuil
Camille Doncieux (1847-1879) was the first wife of Claude Monet, who painted her portrait in 1886. Before marrying Monet she was his model, and appeared three times in the painting "Women in the Garden" ("Femmes au jardin"). She died in Vétheuil, where she and her husband lived since 1878, and her grave is in Vétheuil cemetery.
Haystacks (Monet series)
The series demonstrates his intense study of light and atmospheric conditions and Monet was a perfectionist in his renderings. Monet destroyed more than one series of paintings that he found wanting. However, this series escaped his own harsh self-criticism and destruction.
Complementary colors
In 1872, Claude Monet painted "Impression, Sunrise", a tiny orange sun and some orange light reflected on the clouds and water in the centre of a hazy blue landscape. This painting, with its striking use of the complementary colors orange and blue, gave its name to the impressionist movement. Monet was familiar with the science of complementary colors, and used them with enthusiasm. He wrote in 1888, "color makes its impact from contrasts rather than from its inherent qualities...the primary colors seem more brilliant when they are in contrast with their complementary colors."
Rouen Cathedral (Monet series)
The cathedral series was not Monet's first series of paintings of a single subject, but it was his most exhaustive. The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes. The cathedral allowed him to highlight the paradox between a seemingly permanent, solid structure and the ever-changing light which constantly plays with our perception of it. There were calls for the state to buy the entire series and exhibit them as a whole, but these calls were not heeded and the series was divided.
Rouen Cathedral (Monet series)
The Rouen Cathedral series was painted in the 1890s by French impressionist Claude Monet. The paintings in the series each capture the façade of the Rouen Cathedral at different times of the day and year and reflect changes in its appearance under different lighting conditions.
Water Lilies (Monet series)
In May 2010, it was announced that the 1906 "Nymphéas" work would be auctioned in London in June 2010. The painting had an estimated sale price of between £30 and £40 million. Giovanna Bertazzoni, Christie's auction house director and head of impressionist and modern art, said, "Claude Monet's water-lily paintings are amongst the most recognised and celebrated works of the 20th Century and were hugely influential to many of the following generations of artists." The sale took place on 23 June 2010 at the auction house and the painting attracted bids of up to £29 million, but it ultimately failed to sell.
Le Havre
Claude Monet (1840–1926), a resident of Le Havre from the age of five, in 1872 painted "Impression soleil levant" (Impression, Sunrise), a painting that gave its name to the impressionist movement. In 1867–1868, he painted many seascapes in the Le Havre region ("Terrasse a Sainte-Adresse" (Garden at Sainte-Adresse), 1867 "Bateaux quittant le port" (Boats Leaving the Port), 1874). The Musée Malraux houses some of his paintings : Waterlilies, London Parliament et Winter Sun at Lavacourt. Two other Impressionists, Camille Pissarro (1830–1903) and Maxime Maufra (1861–1918) also represented the port of Le Havre which also inspired Paul Signac (1863–1935), Albert Marquet (1875–1947), and Maurice de Vlaminck (1876–1958).
Les Orangers
Caillebotte painted this canvas ' at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, ' by Claude Monet in March of that year, and it is likely to have influenced this work.
Water Mill at Kollen Near Nuenen
Water Mill at Kollen Near Nuenen (Dutch: "Collse watermolen", F48a, JH488) is an oil painting of the Watermill at Kollen, created on 28-29 May 1884 by Vincent van Gogh during the period when he was living at Nuenen nearby. It measures .
Reiji Hiramatsu
In 1994 he visited the Musée de l'Orangerie and Giverny in France. He was inspired by Claude Monet and produced a number of paintings and "byōbu" screens that re-interpret Monet's "Water Lilies", which in turn originally were inspired by Japonisme. Reiji's Water Lilies were exhibited in 2013 at the Museum of Impressionism in Giverny, as well as the Museum of Asian Art in Berlin.
Michel Bussi
In 2010, he contributed to the ("Colours of the Moment") anthology of short stories with ("Do you remember my Anaïs?"), set in Veules-les-Roses and based on the "legend" of Anaïs Aubert. The same year, he changed publishers to Presses de la Cité. His novel ("Black Waterlilies"), a cloak-and-dagger thriller set in Giverny, the home of Claude Monet, was published on 20 January 2011. It was critically praised and became a best seller, winning the Readers' Award at the Cognac Thriller Festival, Cognac, the Mediterranean Thriller Prize at the Villeneuve-lès-Avignon Festival, and the Michel Lebrun Grand Prize of the 25th hour of Le Mans, the Readers' Priye at Sang d'Encre of Vienne, and the Gustave Flaubert Grand Prize of the Norman Writers' Guild, becoming the best-selling French detective novel of 2011. It was issued in paperback on 5 September 2013.
Rouen Cathedral (Monet series)
When Monet painted the "Rouen Cathedral" series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself. His "Series Paintings", in which he painted many views of the same subject under different lighting conditions, are an attempt to illustrate the importance of light in our perception of a subject at a given time and place.
Water Lilies (1919)
The Water Lilies is a 1919 painting by impressionist Claude Monet, one of his "Water Lilies" series. The painting depicts a scene in Monet's French pond showing light reflecting off the water with water lilies on the surface. It is on display in New York's Metropolitan Museum of Art.
Claude Monet
In May 1871, he left London to live in Zaandam, in the Netherlands, where he made twenty-five paintings (and the police suspected him of revolutionary activities). He also paid a first visit to nearby Amsterdam. In October or November 1871, he returned to France. From December 1871 to 1878 he lived at Argenteuil, a village on the right bank of the Seine river near Paris, and a popular Sunday-outing destination for Parisians, where he painted some of his best-known works. In 1873, Monet purchased a small boat equipped to be used as a floating studio. From the boat studio Monet painted landscapes and also portraits of Édouard Manet and his wife; Manet in turn depicted Monet painting aboard the boat, accompanied by Camille, in 1874. In 1874, he briefly returned to Holland.
Bain à la Grenouillère
Monet wrote on September 25, 1869 in a letter to Frédéric Bazille, "I do have a dream, a painting ("tableau"), the baths of La Grenouillère, for which I have made some bad sketches ("pochades"), but it is only a dream. Pierre-Auguste Renoir, who has just spent two months here, also wants to do this painting." Monet and Renoir, both desperately poor, were quite close at the time.
The painting here and one in the London National Gallery ("Bathers at La Grenouillere", oil on canvas, 73 x 92 cm) are probably the sketches mentioned by Monet in his letter. A bigger size painting, now lost but formerly in the Arnhold collection in Berlin, may well have been the "tableau" that he dreamed of. The broad, constructive brushstrokes here are clearly those of a sketch. For his exhibition pictures Monet usually sought a more delicate and carefully calibrated surface at this time. An almost identical composition of the same subject by Renoir is in the Nationalmuseum, Stockholm. The two friends were undoubtedly working side by side.
Water Lilies (Monet series)
Monet's long preference for producing and exhibiting a series of paintings related by subject and perspective began in 1889, with at least ten paintings done at the "Valley of the Creuse", which were shown at the Galerie Georges Petit. Among his other famous series are his "Haystacks".
Stormy Sea in Étretat
The painting depicts a stormy sea on a winter day. The cliff in the background is at Étretat (Seine Maritime); Monet frequently stayed in the area during the winter of 1864-65, and wrote: "I spend my time outdoors on the stone when it's big time [...] and of course I work all the time." Monet composed the painting in February 1883 from his hotel window. Subsequently, the painting was bought by the Parisian dealer Paul Durand-Ruel, and then became the property of the Museum of Fine Arts in Lyon in 1902. The museum was a forerunner in the collecting of early 20th century Impressionist paintings.
Oil painting
Traditionally, artists mixed their own paints from raw pigments that they often ground themselves and medium. This made portability difficult and kept most painting activities confined to the studio. This changed in the 1800s, when tubes of oil paint became widely available following the American portrait painter John Goffe Rand's invention of the squeezable or collapsible metal tube in 1841 (the year of Claude Monet's birth). Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism).
Suzanne Hoschedé
In 1878 Monet and his family temporarily moved into the home of Ernest Hoschedé (1837–1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vétheuil during the summer. Hoschedé became bankrupt, and left in 1878 for Belgium. After the death of Monet's wife Camille in September 1879, and while Monet continued to live in the house in Vétheuil, Hoschedé's wife Alice (1844–1911) helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children. They were Blanche Hoschedé Monet (who eventually married Jean Monet); Germaine; Suzanne Hoschedé; Marthe; Jean-Pierre; and Jacques. In the spring of 1880, Alice Hoschedé and all the children left Paris and rejoined Monet, still living in the house in Vétheuil. In 1881, all of them moved to Poissy, which Monet hated. In April 1883, looking out the window of the little train between Vernon and Gasny, he discovered Giverny. They next moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden and where he painted for much of the rest of his life. Following the death of her estranged husband in 1891, Alice Hoschedé married Claude Monet in 1892 on July 16. The witnesses were the painters Gustave Caillebotte and Paul César Helleu.
Claude Monet
During World War I, in which his younger son Michel served and his friend and admirer Georges Clemenceau led the French nation, Monet painted a series of weeping willow trees as homage to the French fallen soldiers. In 1923, he underwent two operations to remove his cataracts. The paintings done while the cataracts affected his vision have a general reddish tone, which is characteristic of the vision of cataract victims. It may also be that after surgery he was able to see certain ultraviolet wavelengths of light that are normally excluded by the lens of the eye; this may have had an effect on the colours he perceived. After his operations he even repainted some of these paintings, with bluer water lilies than before.
Claude Monet
After the outbreak of the Franco-Prussian War (19 July 1870), Monet and his family took refuge in England in September 1870, where he studied the works of John Constable and Joseph Mallord William Turner, both of whose landscapes would serve to inspire Monet's innovations in the study of colour. In the spring of 1871, Monet's works were refused authorisation for inclusion in the Royal Academy exhibition.
John William Waterhouse
In 1883 he married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.
One of Waterhouse's best known subjects is "The Lady of Shalott", a study of Elaine of Astolat as depicted in the 1832 poem by Alfred, Lord Tennyson, who dies of a mysterious curse after looking directly at the beautiful Lancelot. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most familiar of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like "The Lady of Shalott" and other Waterhouse paintings, it deals with a woman dying in or near water. He may also have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his 1888 "Ophelia" painting in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled "A Mermaid", but it was not completed in time.) After this, the painting was lost until the 20th century. It is now displayed in the collection of Lord Lloyd-Webber. Waterhouse would paint Ophelia again in 1894 and 1909 or 1910, and he planned another painting in the series, called "Ophelia in the Churchyard".
John Rogers Herbert
Herbert began on "Moses" in 1858. The process was painstaking and frustrating, owing to the continuous deterioration of the fresco as he painted it. In 1861 Herbert erased the entire work and started again in the waterglass technique, as suggested by Prince Albert. He finally finished in 1864, but the time taken to understand the technique was unexpected, and had not produced a perfect result, as the painting continued to deteriorate. Nevertheless, Herbert considered "Moses" one of his most important works.
Color Field
Although Pollock is closely associated with action painting because of his style, technique, and his painterly 'touch' and his physical application of paint, art critics have likened Pollock to both action painting and color field painting. Another critical view advanced by Clement Greenberg connects Pollock's allover canvases to the large-scale "Water Lilies" of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works – his "drip" paintings – read as vast fields of built-up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural-sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic "drip" painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed "Number 12, 1952", a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection. In 1960 the painting was severely damaged by fire in the Governors Mansion in Albany that also severely damaged an Arshile Gorky painting and several other works in the Rockefeller collection. However, by 1999 it had been restored and was installed in Albany Mall.
Water Lilies (Monet series)
Water Lilies (or Nymphéas, ) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926). The paintings depict his flower garden at his home in Giverny, and were the main focus of his artistic production during the last thirty years of his life. Many of the works were painted while Monet suffered from cataracts.
Haystacks (Monet series)
Monet settled in Giverny in 1883. Most of his paintings from 1883 until his death 40 years later were of scenes within of his home. Monet was intensely aware of and fascinated by the visual nuances of the region’s landscape and by the endless variations in the days and in the seasons - the stacks were just outside his door.
Boulevard des Capucines
No. 35 was a house where Nadar lived. In April 1874, a group of young painters, including Renoir, Édouard Manet, Pissarro, and Claude Monet, opened the first exhibition of their paintings. The painting by Claude Monet, "Impression, Sunrise", gave the exhibitors the name of Impressionists. Another of Claude Monet's paintings, entitled "Boulevard des Capucines", is now visible in the Pushkin Museum in Moscow or the Nelson-Atkins Museum of Art in Kansas City, Missouri.