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CLAUDE MONET Fields in Spring

"BUT NO, MONSIEUR MONET, YOU ARE NO NATURALIST. . .
IN NATURE, TREES ARE NOT BLUE AND PEOPLE ARE NOT PURPLE.
YOUR GREAT ACCOMPLISHMENT IS THAT YOU HAVE PAINTED THEM AS YOU SAW THEM.
OUT OF LOVE FOR BEAUTIFUL COLOR, AND NOT AS THEY REALLY ARE."
Paul Signac, 1894

"When object you have before you—a tree, a house, a field or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it emerges as your own naïve impression of the scene before you:'

Containing essays by Christofer Conrad, Christian von Holst, Katja Matauschek, and Roman Zieglgánsberger, this monograph invites the reader to contemplate the many ways Claude Monet depicted one of his main themes: fields and meadows.
Starting in 1873, he began painting the fields around Argenteuil, making them come alive with densely placed brushstrokes. Monet compared this cultivated land to the untouched meadows of the Seine landscapes, which he began producing in 1878 around the area of Vétheuil.
Monet's move to Giverny in 1883 coincides with the increased acceptance of the Impressionist movement, of which he was considered the leading representative.
There he painted one of his most important works, Fields in Spring of 1887. This painting articulates the typical Impressionist theme in its remarkably austere organization of surfaces and highly systematic palette, and marks a turning point in Monet's oeuvre.
It was this characteristic rigor that gave the painting its incomparably harmonious effect and secured Monet the continuing admiration of art connoisseurs. In 1906 the newly. ounded Stuttgart Galerieverein acquired the painting—a double anniversary commemorated by this publication, which closes with the fascinating works of 1894, in which Monet perfected his systematic approach and shows very clearly his independence from the model of nature, which was even noticed by contemporary critics.

Met 126 illustraties, 102 in kleur.

Dit boek wordt ZELDEN aangeboden. Is niet meer in de handel.

Gebonden hardcover uitgave van Hatje Cantz, 2006, 164 pag.
Oblong formaat 35 x 28,5 cm
Goede staat
Verzendkosten 6,50 (pakketpost)
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