Monet by Trewin Copplestone, Guy Jennings

By Trewin Copplestone, Guy Jennings

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3 Actual size detail Monet's impasto technique, with overlay on overlay of dry dragged paint, clearly is revealed in this detail. Flecks of wet blue and cloud white suggest fluttering movement. The thick paint, have been too which could solid, by scoring into it is relieved with the handle of the brush so that the underpainting in places. The is great revealed number of colors used, from Prussian blue to vermilion, produce a characteristic density of effect. 32 Autumn at Argknteuii. " d'Orsay, Paris favorite locations wanted was France, including Le Havre, Chatou, Bou- Louveciennes, Ville d'Avray, Rouen and gival, Vernon (for the branch a testament to his enthusiasm.

Boat in Impression, Sunrise (see page 27) pro- Nevertheless, he was always short of money and often borrowed from he could entertain them vides a spatial focus for the painting. There his friends so that also first forty-six paintings, of which thirty-eight colors, orange and blue, with the orange predominating, and there year alone ( 1872) producing tion, Most of these were views of the Seine, town and the surrounding landscape; he fluidly drier paint. now changed from being a much traveled who explored his own in painting technique painter to being one is a much more worked him so From the strong found in brushstrokes The strokes is fol- foliage has a which in the slightly deeper is given a vertical The tall tree on the right reveals a further characteristic of Monet's The form new range of his oil-painting method.

The essence of Monet's painting and the genesis, his obsession with capturing the The diacy of light and atmosphere. immeidea of and retouching in the studio seems to contradict in vogue, Monet's purpose, and the construction of a so far as to suggest that painting entirely from experience and visual the closed doors of the west portal in Monet's memory was quite contrary to his own words. painting symbolized Man's exclusion from Part of the explanation for this seeming con- time at a an art as a literary movement, was very much and one went critic the spiritual world.

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