Claude Monet, 1840-1926 : une fête pour les yeux
著者
書誌事項
Claude Monet, 1840-1926 : une fête pour les yeux
Taschen, c2004
- タイトル別名
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Monet
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
内容説明・目次
内容説明
Claude Monet (1840 - 1926) was both the most typical and the most individual painter of impressionism. His long life and extraordinary work capacity - coupled with a sometimes furious perfectionism - he dedicated to a pictorial exploration of the sensations which reality, and in particular landscape, offer the human eye. But while Monet the painter was faithful and persevering in the pursuit of his motifs, his personal life - characterized by frequent travels and changes of location - followed a more restless course. Parisian by birth, he discovered plein-air painting as a youth in the provinces and sought to defy his family's insistence upon an academic painter's training. For over half his life the artist was plagued by financial worries, which in part precipitated the frequent moves made by his expanding household. Two of his homes stand out above the rest. The first, Argenteull, has come to represent the artistic flowering and official establishment of impressionism as a movement, with Monet as its creative leader.
But it was also Monet who, in his endeavour to capture the ever-changing face of reality, went beyond impressionism and thereby beyond the confines of the self-contained panel painting. This step he took in the village of Giverny: here he painted the Poplars, Grain Stacks and Rouen Cathedral series in which he addressed one motif in constantly new variations. Here, too, Monet laid out the famous garden with its water lily pond which he was to paint on huge canvases well into the 1920s. He thereby sought to render not reality as objectively experienced, but rather that which takes place 'between the motif and the artist'. In their open, no longer more than tenuously representational structure and impressive scale, his water lily paintings - created long before the currents of the contemporary avant-garde - point the way forward to the developments of the future.
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