1889, Claude Monet, The Village of La Roche-Blond (Sunset) -- Albertina (Vienna)
From the museum label: In the Creuse paintings, Monet directs the gaze over the plateau and down toward the river, which pushes into the ravine, forcing itself like a wedge projected onto the surface between the mountaintops vaulted against each other. The slopes are stony and sparsely overgrown. Monet has covered them with green, pink, yellow, blue, brown, and at times also red dabs and strokes, with which he differentiates such details as elevations, rock projections, meadowy patches, cliffs, and mosses. The series lacks dramatic motifs. Only marginal attention is paid to the meeting of the headwaters. The confluence of the Petite Creuse into the larger river is merely intimated at the lower left margin. Monet’s Creuse pictures seem to deal less with the motif itself and focus instead on the space it occupies. Differently colored vaults form ravines, water comes up against hard stone, the fluid is confronted with the static.
1889, Claude Monet, The Village of La Roche-Blond (Sunset) -- Albertina (Vienna)
From the museum label: In the Creuse paintings, Monet directs the gaze over the plateau and down toward the river, which pushes into the ravine, forcing itself like a wedge projected onto the surface between the mountaintops vaulted against each other. The slopes are stony and sparsely overgrown. Monet has covered them with green, pink, yellow, blue, brown, and at times also red dabs and strokes, with which he differentiates such details as elevations, rock projections, meadowy patches, cliffs, and mosses. The series lacks dramatic motifs. Only marginal attention is paid to the meeting of the headwaters. The confluence of the Petite Creuse into the larger river is merely intimated at the lower left margin. Monet’s Creuse pictures seem to deal less with the motif itself and focus instead on the space it occupies. Differently colored vaults form ravines, water comes up against hard stone, the fluid is confronted with the static.