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Among the tremendous output of his first year in Argenteuil, Monet painted some still lifes, mainly when bad weather stopped him from working outside. These show how the painter had developed, compared with his first attempts in this genre. He completed a more original study with a bold composition that shows an overall view of the table, brought to life by the folds in the damask tablecloth. His work focused on the effects of materials ?of the fruit, porcelain, and fabric taken together. The objects are ordered on the table in simple fashion. His interest in Japanese style is expressed in the accessories represented. These same qualities are found in another still life painted at this time: Le service ?th?
Monet & Friends Alive – An Immersive Adventure into French Impressionism
Kalmar Castle, Sweden
Works by Claude Monet and 17 other great impressionist painters are exhibited. The paintings range from mid-19th century to early 20th century and are the creations of artists like Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas. Along their works, photographs and film is exhibited, telling us about the artists’ sources of inspiration.
Today impressionist art is widely cherished, many finding the artistic style easy to approach and appreciate. The exhibition presents impressionism in an innovative and vivid way, opening the wonderful world of art to new audiences. Monet & Friends Alive is welcoming to families and will include arranged children’s activities.
Mariposa Dione moneta, llamada en inglés "Mexican Silvespot", debido a las características manchas plateadas que presenta en las alas. Aquí, alimentándose de una flor de hibisco. En esta foto se ve cómo la mariposa aprovecha la hendidura de los pétalos cerca del cáliz de la flor, para alimentarse.
1907 was a good year in terms of work. Monet went back to the water lilies, working in his studio in late winter with a view to exhibiting in May. At that time he felt that only an exhibition of a group of unseen works could produce the effect he wanted. However the project ran late due to his difficulty in completing his canvases, some of which had to be redone on site. The campaign of work was only concluded when the good weather arrived. Monet had now found what he regarded as an ideal spot: a little island of water lilies that he used to execute a lavish series with slight variations. He used mostly vertical formats, but also looked into a more original circular format, turning the water lilies almost into a decorative motif.
莫內是法國最重要的畫家之一，印象派的理論和實踐大部份都有他的推廣。莫內擅長光與影的實驗與表現技法。他最重要的風格是改變了陰影和輪廓線的畫法，在莫內的畫作中看不到非常明確的陰影，也看不到突顯或平塗式的輪廓線。除此之外，莫內對於色彩的運用相當細膩，他用許多相同主題的畫作來實驗色彩與光完美的表達。莫內曾長期探索光色與空氣的表現效果，常常在不同的時間和光線下，對同一對象作多幅的描繪，從自然的光色變幻中抒發瞬間的感覺。
Like everywhere in the house, the furniture and the objects are still exactly the same, what gives a great authenticity to Monet's home. On the walls, reproductions of Monet's works evocate the atmosphere of the place at Monet's times. The painter liked to keep a record of each step of his career. Many of the originals that were kept in this room are now to be seen at Musée Marmottan-Monet in Paris.
Due to Covid.
I was grateful for the opportunity not to be crowded. Very unusual for a Monet exhibit.
Monet & Friends Alive, Kalmar Castle, Sweden
The exhibition features works by Claude Monet and 17 other major impressionists from the mid-1800s to the early 1900s, including Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas.
Surrounded by the fantastic paintings of the Impressionists, which are projected on giant screens. Classical music is played and an aromatic scent enhances the experience even more.
1879 was a dispiriting year for the painter. Times had been hard of late, especially from the financial point of view, and this prompted Monet to work flat out on new subjects around the V茅theuil area. He then returned to Paris to sell his canvases, the average price of which had improved appreciably. Turning his back on the Salon, Monet reluctantly took part in the Fourth Impressionist Exhibition, mainly for the income. Complimentary reviews in the press were tempered by some criticism that the artist might be in danger of slipping into a seductively easy style; one reason for this view was the unfinished appearance of the paintings presented at this exhibition. This sketchy style is evident in this painting, in which Monet depicts the Siberian winter that caused the Seine to freeze over completely, allowing residents to walk across from one bank to the other.
Boosted financially by his successes at the 1866 Salon, Monet moved to S鑦res and attempted to take his revenge for the failure of Le D閖euner sur l扝erbe. He needed to complete a large format work en plein air in order to break with the traditional creative process once and for all. To this end, he devised a trench and pulley system that allowed him to hoist the canvas, despite its considerable size, to the desired height for painting. While this painting marked a return for Monet to the image of bourgeois women in Le D閖euner sur l扝erbe, notably with Camille among the figures on the left, in this case they are alone in their garden. His style was evolving, as he gradually abandoned large areas of solid colour in favour of using small touches to give detail to the painting. Rejected by the Salon, this work was displayed in a shop and then purchased by Bazille for a high price, thus providing his friend with a steady income.