IMG_1770.CR2_G5 X_25MAY16_Claude Monet, La Mer Vue Des Falaises, 1881_O.N. 2016.PHX.7.1 PAM
Claude Monet, La Mer Vue Des Falaises, 1881
Object Number: 2016.PHX.7.1, Phoenix Art Museum
On loan from a Private Collection
Canon G5 X handheld, taken 25 May 2016
fr.wikipedia.org/wiki/Claude_Monet
en.wikipedia.org/wiki/Phoenix_Art_Museum
www.sothebys.com/en/auctions/ecatalogue/2007/impressionis...
www.npr.org/2020/01/10/794924761/what-a-way-to-go-even-as...
La Mer vue des falaises belongs to a series of views of the cliff overlooking Fécamp in Normandy, which Monet painted in 1881 (Wildenstein nos. 647-652). Monet executed the majority of his early seascapes on the coast of Normandy, a region to which he was deeply attached, and to which he returned throughout his career. In the spring of 1881 Monet spent several weeks in Fécamp, a fishing port he had visited briefly in 1868. In his depictions of this view, including the present work, Monet eliminated any signs of human presence, choosing instead to focus on the nature itself. The composition is dominated by the vast expanse of the sea, framed by the dramatic cliffs on the left, and a narrow strip of the sky above the water.
Turning to this particular landscape, Monet followed in the footsteps of Gustave Courbet, who had painted some of his best works on the coast of Normandy. Heather Lemonedes wrote that "The Fécamp pictures should be viewed against the backdrop of Courbet's seascapes, or 'landscapes of the sea,' as he preferred to call them. Courbet first journeyed to the Normandy coast when he was twenty-one and was immediately captivated by it. He made numerous return visits in the 1860s, painting the sea and the beach and establishing a reputation as a marine painter. In 1866 the Count de Choiseul lent Courbet his house at Trouville, where the artist spent time in the company of Monet and Boudin. One critic described the sea as producing 'the same emotion as love' in Courbet. Such passion [...] would have undoubtedly resonated with Monet. While Monet's depictions of the sea at Fécamp are more abstract, more insistently referential to the act of painting, they evoke a fascination with the subject that was in keeping with Courbet's reverence for the sea" (Heather Lemonedes in Monet in Normandy (exhibition catalogue), Fine Arts Museums, San Francisco, 2006-07, pp. 82-83). ... sothebys
IMG_1770.CR2_G5 X_25MAY16_Claude Monet, La Mer Vue Des Falaises, 1881_O.N. 2016.PHX.7.1 PAM
Claude Monet, La Mer Vue Des Falaises, 1881
Object Number: 2016.PHX.7.1, Phoenix Art Museum
On loan from a Private Collection
Canon G5 X handheld, taken 25 May 2016
fr.wikipedia.org/wiki/Claude_Monet
en.wikipedia.org/wiki/Phoenix_Art_Museum
www.sothebys.com/en/auctions/ecatalogue/2007/impressionis...
www.npr.org/2020/01/10/794924761/what-a-way-to-go-even-as...
La Mer vue des falaises belongs to a series of views of the cliff overlooking Fécamp in Normandy, which Monet painted in 1881 (Wildenstein nos. 647-652). Monet executed the majority of his early seascapes on the coast of Normandy, a region to which he was deeply attached, and to which he returned throughout his career. In the spring of 1881 Monet spent several weeks in Fécamp, a fishing port he had visited briefly in 1868. In his depictions of this view, including the present work, Monet eliminated any signs of human presence, choosing instead to focus on the nature itself. The composition is dominated by the vast expanse of the sea, framed by the dramatic cliffs on the left, and a narrow strip of the sky above the water.
Turning to this particular landscape, Monet followed in the footsteps of Gustave Courbet, who had painted some of his best works on the coast of Normandy. Heather Lemonedes wrote that "The Fécamp pictures should be viewed against the backdrop of Courbet's seascapes, or 'landscapes of the sea,' as he preferred to call them. Courbet first journeyed to the Normandy coast when he was twenty-one and was immediately captivated by it. He made numerous return visits in the 1860s, painting the sea and the beach and establishing a reputation as a marine painter. In 1866 the Count de Choiseul lent Courbet his house at Trouville, where the artist spent time in the company of Monet and Boudin. One critic described the sea as producing 'the same emotion as love' in Courbet. Such passion [...] would have undoubtedly resonated with Monet. While Monet's depictions of the sea at Fécamp are more abstract, more insistently referential to the act of painting, they evoke a fascination with the subject that was in keeping with Courbet's reverence for the sea" (Heather Lemonedes in Monet in Normandy (exhibition catalogue), Fine Arts Museums, San Francisco, 2006-07, pp. 82-83). ... sothebys