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Cliff Walk at Pourville - Claude Monet (French, 1840-1926) - Google Arts & Culture

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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death). France was in the midst of a lengthy economic recession that affected Monet's sales. In addition, the artist was unenthusiastic about the upcoming seventh Impressionist exhibition-divisions within the group had become pronounced by this time-and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel.
Disappointed in the area around the harbor city of Dieppe, which he found too urban, Monet settled in Pourville and remained in this fishing village until mid-April. He became increasingly enamored of his surroundings, writing to Hoschedé and her children: "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville.
The two young women strolling in "Cliff Walk at Pourville" are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and color. The grass-composed of short, brisk, curved brushstrokes-appears to quiver in the breeze, and subtly modified versions of the same strokes and hues suggest the women's wind-whipped dresses and shawls and the undulation of the sea. X-ray imaging of the work reveals that Monet reduced the rocky outcropping at the far right to balance the proportions of sea and sky.

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Cliff Walk at Pourville - Claude Monet (French, 1840-1926) - Google Arts & Culture

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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death).

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Poppy Field - Claude Monet - Google Arts & Culture

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When he returned from England in 1871, Monet settled in Argenteuil and lived there until 1878. These years were a time of fulfilment for him. Supported by his dealer, Paul Durand-Ruel, Monet found in the region around his home the bright landscapes which enabled him to explore the potential of plein-air painting.

He showed Poppy Field to the public at the first Impressionist exhibition held in the photographer Nadar's disused studio in 1874. Now one of the world's most famous paintings, it conjures up the vibrant atmosphere of a stroll through the fields on a summer's day.

Monet diluted the contours and constructed a colourful rhythm with blobs of paint starting from a sprinkling of poppies; the disproportionately large patches in the foreground indicate the primacy he put on visual impression. A step towards abstraction had been taken.

In the landscape, a mother and child pair in the foreground and another in the background are merely a pretext for drawing the diagonal line that structures the painting. Two separate colour zones are established, one dominated by red, the other by a bluish green. The young woman with the sunshade and the child in the foreground are probably the artist's wife, Camille, and their son Jean.

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Poppy Field - Claude Monet - Google Arts & Culture

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When he returned from England in 1871, Monet settled in Argenteuil and lived there until 1878. These years were a time of fulfilment for him. Supported by ...

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Water Lilies and Japanese Bridge - Claude Monet - Google Arts & Culture

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세부정보

제목: Water Lilies and Japanese Bridge

제작연도: 1899

물리적 위치: Princeton University Art Museum

Measurements: 90.5 x 89.7 cm. (35 5/8 x 35 5/16 in.) frame: 129.5 x 132.1 cm. (51 x 52 in.)

Credit Line: From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family

Artist: Claude Monet

작품유형: Paintings

외부 링크: http://artmuseum.princeton.edu/collections/objects/31852

권리: © Princeton University, photo Bruce M. White

재료: Oil on canvas

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Water Lilies and Japanese Bridge - Claude Monet - Google Arts & Culture

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Google 아트 앤 컬처는 Google Cultural Institute와 제휴한 주요 박물관과 자료실 2,000여 곳의 콘텐츠 등 전 세계의 소중한 자료를 온라인으로 제공합니다.

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Woman with a Parasol - Madame Monet and Her Son - Claude Monet - Google Arts & Culture

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Woman with a Parasol - Madame Monet and Her Son

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Woman with a Parasol - Madame Monet and Her Son

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마네의 도움으로 모네는 1871년 후반에 아르장퇴유 교외에서 숙소를 찾았습니다. 인상주의는 1860년대 후반 캐주얼한 야외 상황에서 일반 사람들의 본격적인 다중 그림 묘사를 만들고자 하는 열망에서 발전했습니다. 가장 순수한 인상주의는 모네 가 좋아하는 주제인 풍경화에 맞춰졌습니다. 파라솔을 든 여자 - 모네 부인과 그녀의 아들에서 그의 인물 화가로서의 기술은 똑같이 분명합니다. 학문적 초상화의 인위적인 관습과 달리 모네는 시터의 모습을 주변 환경만큼이나 자유롭게 묘사했습니다. 1876년 두 번째 인상파 전시회에 출품되었을 때 결과물의 자발성과 자연스러움이 찬사를 받았습니다.

파라솔을 든 여성은 야외에서, 아마도 몇 시간 동안 한 번으로 그렸을 것입니다. 작가는 형식적인 인물사진보다는 캐주얼한 가족 나들이의 느낌을 전달하고자 작업을 의도했으며, 포즈와 배치를 통해 아내와 아들이 산책을 방해하는 동시에 그들의 모습을 담았습니다. 여기에 묘사된 순간의 간결함은 생생한 색상의 애니메이션 붓놀림 레퍼토리로 전달되며, 모네가 형성하는 데 중요한 역할을 한 스타일의 특징입니다. 밝은 햇빛이 카미유 뒤에서 비추어 파라솔 상단과 뒤에서 흐르는 천을 희게 하고, 아래에 있는 야생화의 색 반사가 그녀의 전면을 노란색으로 터치합니다.

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Woman with a Parasol - Madame Monet and Her Son - Claude Monet - Google Arts & Culture

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Google 아트 앤 컬처는 Google Cultural Institute와 제휴한 주요 박물관과 자료실 2,000여 곳의 콘텐츠 등 전 세계의 소중한 자료를 온라인으로 제공합니다.