#claude-monet — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #claude-monet, aggregated by home.social.
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"Shadows on the Sea. The Cliffs at Pourville," Claude Monet, 1882.
Y'all know Monet.
Here we see his Impressionist technique at its prime. Areas of light and shadow are illustrated with mere dots and dashes that come together to form the coherent whole...something like a TV screen. It's also a great evocation of those moments when a breeze ripples the sea, making it a surface of a million little mirrors.
It's also a great image for this time of year, as we start looking forward to summer vacations. Here Monet does an excellent job of depicting a hot summer day on the seashore.
From the Ny Carlsberg Glyptotek, Copehnhagen.
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Claude Monet - Les Régates d'Argenteuil, c.1910s - Lapina CPA
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Blooming good: Monet, maestros shine as garden art bridges East and West https://www.allforgardening.com/1728307/blooming-good-monet-maestros-shine-as-garden-art-bridges-east-and-west/ #ArtInstituteOfChicago #Beijing'sPalaceMuseum #ClaudeMonet #FrenchImpressionist #garden #HongKong #HongKongMuseumOfArt #PalaceOfVersailles #TsimShaTsui #WangTao #WaterLilyPond #WuGuanzhong #YuZhiding #ZhangDaqian
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"Water Lilies," Claude Monet, c. 1915.
Y'all know Monet. His water lily paintings occupied the last few decades of his life, all done in the garden of his home in Giverny. He was depressed after the deaths of his wife and son, but also was beginning to suffer from vision problems due to cataracts.
When he finally underwent cataract surgery in 1923, he destroyed some of his earlier work or retouched it; I have no idea if that's the case here. Still, it's a lovely image...the water lilies on the water's surface juxtaposed against the reflection of a willow tree. It's a gorgeous image that actually challenged some notions at the time; the idea of including the tree's reflection, but not the tree itself, was a bit daring.
Happy Flower Friday!
From the Neue Pinakothek, Munich.
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Une dernière pour ce soir...
Quand on voit ces toiles « en vrai », elles nous surprennent toujours : leur taille, leur éclat... n’est pas toujours ce que l’on imaginait. Et la matière est bien là.
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“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…
Claude Monet, Caricature of Léon Manchon, 1858.… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…
At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”
Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.
The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.
Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.
Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)
Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…
“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.
Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.
* Kurt Vonnegut
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As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.
The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…
https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF
#art #caricature #ClaudeMonet #culture #history #Monet #PeterFluck #puppetry #puppets #RogerLaw #SpittingImage #television -
Dans ce document inédit adressé à Gustave Manet, le peintre sollicite un prêt de 1 000 francs, offrant en garantie trente-cinq de ses tableaux. Dans ce contexte, Monet n’hésite pas à mettre en gage une partie de sa production pour obtenir des liquidités, révélant la précarité d’artistes aujourd’hui célébrés et dont les toiles se vendent des millions.
https://www.connaissancedesarts.com/marche-art/estimee-120-000-euros-une-rare-lettre-de-monet-revele-comment-le-peintre-mettait-ses-tableaux-en-gage-pour-survivre-11210953/
#Art #Peinture #ClaudeMonet -
‘What a fascinating challenge for an artist’: how Monet captured Venice in his twilight years https://www.theguardian.com/artanddesign/2026/mar/24/monet-venice-paintings-exhibition-de-young-san-francisco #ClaudeMonet #ArtAndDesign #Painting #Art #Culture #SanFrancisco #California #Museums #Venice
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To see we must forget the name of the thing we are looking at.
-- Claude Monet -
"Frost at Giverny," Claude Monet, 1885.
We all know Monet (1840-1926), the founder of Impressionism, and one of the most popular artists in history.
Where others see snow as merely an empty white expanse, Monet loved to look at how snow reflected light. His snow is never just white, but a colorful cacophony of pink, blue, violet, and yellow. He loved painting winter scenes and would often be out in freezing weather trying to get everything just right.
Here he uses his brushstrokes to indicate land, sky, and tree, and yet they all combine in a harmonious whole. The human figures are sketchily done, barely there, but add depth and dimension.
Spring is coming soon!
From the Museum Barberini, Potsdam.
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"Snow at Argentuil," Claude Monet, 1875.
Y'all know Monet.
In the winter of 1874-5, Monet painted 18 canvases of the snow-covered scenery in his hometown of Argentuil. This is the largest, 28x36 inches. And many feel, the best.
It's the least detailed of that series, but he uses color effectively. When painting snow, the Impressionists loved to experiment with how the light reflected from it, and giving it dabs of color. The overcast sky is light at the edges, and there are hints of color in the snow, just like in real life. The paint on the snowy road at the bottom is thicker than the rest of the painting, which helps give the feel of the disturbed, piled-up snow.
The painting was purchased by Monet's friend Theodore Duret, who himself showed it to Edouard Manet when he thought about doing some snow painting. But when Manet beheld it, he declared it perfect, and would never even attempt to paint snow ever again.
From the National Gallery, London.
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Claude Monet - La Grenouillère (1869)
https://monoeil.blog/claude-monet/
#arte #art #claudemonet -
Claude Monet - Paysage marin, effet nocturne
https://monoeil.blog/claude-monet/
#arte #art #claudemonet -
Claude Monet - Le Pont sur la Seine (1874)
https://monoeil.blog/claude-monet/
#arte #art #claudemonet -
"The Artist's Garden at Vétheuil," Claude Monet, 1881.
Y'all know Monet by now.
In 1878, he moved to the town of Vétheuil, along the Seine river, where he and his wife and children shared a house with the formerly wealthy Ernest Hoschedé, once the owner of a successful department store, and his wife Alice, and their children. Monet's wife Camille's health was declining and she died of uterine cancer the following year. Ernest, who had gone bankrupt a few years before, found work as a journalist, and he and Alice became estranged....and later Monet took up with Alice, and married her after Ernest's death in 1891.
Monet had convinced the landlord to allow him to do some landscaping. Monet was a dedicated gardener and loved painting flowers, so in a sense this was therapeutic for him at this turbulent time.
The summer sun shines over this garden, full of sunflowers. The child on the path, with the wagon, seems almost like an old photograph. Barely visible on the steps are a woman, presumedly Alice, & another child.
Monet, Alice, and the children had to move a few months after this was painted, as they couldn't make the rent, so there's an almost idealized quality here, a memory being clung to.
Happy Flower Friday!
From the National Gallery of Art, Washington DC.
