Monet. Nathalia Brodskaya
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Название: Monet
Автор: Nathalia Brodskaya
Издательство: Parkstone International Publishing
Жанр: Иностранные языки
Серия: Mega Square
isbn: 978-1-78160-968-2, 978-1-78042-219-0
isbn:
Monet preferred current exhibitions and meetings with contemporary artists to visiting museums. A study of his letters provides convincing evidence that contact with the Old Masters excited him far less than the life around him and the beauties of nature.
The Beach at Sainte-Adresse
1867
Oil on canvas, 75.8 × 102.5 cm
Art Institute of Chicago
What, then, did particularly strike Monet during his first trip to Paris in 1859? An exhaustive reply is found in his letters to Boudin from Paris after his visit to the Salon. The young provincial passed indifferently by the historical and religious paintings of Boulanger, Gérôme, Baudry and Gigoux; the battle-scenes depicting the Crimean campaign do not attract him at all; even Delacroix, represented by such works as The Ascent to Calvary, St. Sebastian, Ovid, The Abduction of Rebecca and other similar subject paintings, seems to him unworthy of interest.
1867
Lady in the Garden Sainte-Adresse (Jeanne-Marguerite Lecadre in the Garden)
Oil on canvas, 80 × 99 cm
The Hermitage, St. Petersburg
The Lunch
1868
Oil on canvas, 230 × 150 cm
Städelsches Kunstinstitut und Städtische Galerie
Frankfurt
Corot on the other hand is “nice”, Theodore Rousseau is “very good”, Daubigny is “truly beautiful”, and Troyon is “superb”. Monet called on Troyon, an animal and landscape painter whose advice Boudin had earlier found valuable.
Portrait of Madame Gaudibert
1868
Oil on canvas, 216 × 138 cm
Musée d’Orsay, Paris
Troyon made recommendations which Monet relayed in his letters to Boudin – he should learn to draw figures, make copies in the Louvre, and should enter a reputable studio, for instance that of Thomas Couture. Monet thus immediately identified the figures who would provide his artistic guidelines.
At the Water’s Edge, Bennecourt
1868
Oil on canvas, 81 × 100 cm
The Art Institute of Chicago
These were the landscapists of the Barbizon school, who had pointed French landscape painting towards its own native countryside; Millet and Courbet, who had turned to depicting the work and way of life of simple people; and, finally, Boudin and Jongkind, who had brought to landscape the freshness and immediacy lacking in works of the older generation of Barbizon painters.
La Grenouillère
1869
Oil on canvas, 75 × 100 cm
The Metropolitan Museum of Art
New York
Monet was to paint alongside several of these masters – Boudin, Jongkind, Courbet (and Whistler, too) – and by watching them at work he would receive much practical instruction. Although Monet did not regard with great favour his immediate teacher Charles Gleyre, whose studio he joined in 1862, his stay there was by no means wasted, for he acquired valuable professional skills during this time.
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