W 855 - Claude Monet - Strada romana at Bordighera, detail treetop of palm (1884)
W 855, detail treetop of the palm
Painting from 1884
It's amazing, how many different and opposite colours constitute the palm branches.
The whole painting can be seen here:
www.flickr.com/photos/28433765@N07/3820003335/
In my eyes Monet was in some respect a scientific fanatic, who tried to solve problems of optical reproduction and mechanisms of optical perception by means of painting variants (20 or more variants of the "meules" or grainstacks), and there are very early examples of doublets from exact the same point of view (e.g. W 29 & W 30 or W 31 & W 32 or W 33 & W 34, only the latter pair at present being available in middle resolution quality and posted.)
And he was also an early inventor of some kind what we call today pointillism. Monet as a genius avoided that brutal and dominating dotting of Seurat, Signac, Cross and the others (en.wikipedia.org/wiki/Pointillism),
but he put in (only seeming) random manner quite different or even opposite colours just in neighbourhood, being aware of the "melting together" effect in the eye of the observer: Above an example from 1884.
W 855 - Claude Monet - Strada romana at Bordighera, detail treetop of palm (1884)
W 855, detail treetop of the palm
Painting from 1884
It's amazing, how many different and opposite colours constitute the palm branches.
The whole painting can be seen here:
www.flickr.com/photos/28433765@N07/3820003335/
In my eyes Monet was in some respect a scientific fanatic, who tried to solve problems of optical reproduction and mechanisms of optical perception by means of painting variants (20 or more variants of the "meules" or grainstacks), and there are very early examples of doublets from exact the same point of view (e.g. W 29 & W 30 or W 31 & W 32 or W 33 & W 34, only the latter pair at present being available in middle resolution quality and posted.)
And he was also an early inventor of some kind what we call today pointillism. Monet as a genius avoided that brutal and dominating dotting of Seurat, Signac, Cross and the others (en.wikipedia.org/wiki/Pointillism),
but he put in (only seeming) random manner quite different or even opposite colours just in neighbourhood, being aware of the "melting together" effect in the eye of the observer: Above an example from 1884.