By Nina Kalitina, Nathalia Brodskaia
The Best of sequence provides, because the identify indicates, highlights from the paintings of well known artists observed by means of biographical text
For Monet, the act of construction was once continuously a painful fight. His obsession to precise feelings and to transmit mild results over nature used to be even more extreme than his contemporaries. In his phrases: “Skills come and go… paintings is usually a similar: a transposition of Nature that requests as a lot will as sensitivity. I attempt and fight opposed to the sun…should besides paint with gold and priceless stones.”
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Extra resources for Claude Monet (Best Of Collection)
Sample text
In 1864 he wrote Bazille, “What I’ve been telling you, about the break with my family, is going to happen any day now. Last night at Sainte-Adresse I was asked to leave and not to return anytime soon. I’m even afraid I won’t be receiving any more money. With all the effort I’m putting forth now, that would truly be painful” (F. Daulte, op. , p. 42). Camille Doncieux, born in 1847, was seven years younger than Monet, and therefore still in her teens when she met and began modelling for him in 1865.
He was the decisive factor for Monet’s future. Indeed, it was Boudin who passed on his conviction of the importance of working in the open air to Monet, a practice which Monet would in turn transmit to his Impressionist friends. Woman in a Green Dress (Camille), 1866. Oil on canvas, 231 x 151 cm. Kunsthalle Bremen, Bremen. Portrait of Madame Gaudibert, 1868. 5 cm. Musée d’Orsay, Paris. qxp 5/27/2010 3:24 PM Page 34 Monet’s further development took place in Paris, and then again in Normandy, but this time in the company of artists.
When he endeavoured to complete a landscape successfully it lost that sincerity which, in his small studies, could make the viewer feel the cool gusts of the ocean breeze and the gentle rustling of shingles on the beach. Bougival Bridge, 1870. 5 cm. The Currier Gallery of Art, Manchester, New Hampshire. The Luncheon, 1868. Oil on canvas, 232 x 151 cm. Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main. 30 Monet said later that Boudin’s exhortations made no impact at first: he hardly paid attention to his words and always found an excuse not to go work with Boudin in the open air.