Monet and Impressionism

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1 Monet and Impressionism Looking Guide On cover: Claude Monet, French, ; Water Lilies (detail), c ; oil on canvas; 78 3/4 inches x 13 feet 11 3/4 inches; Saint Louis Art Museum, The Steinberg Charitable Fund 134:1956 Sponsored by Wells Fargo Advisors. Additional support is provided by Macy s

Monet and the Impressionists Impressionism Impressionism

that focuses on the effects of light and atmosphere on

The Impressionists experimented with a new style of

Far left: Dennis Stock; The gardens of Claude Monet, 1978;

Artist s Garden at Giverny, 1902; oil on canvas;

Erich Lessing/ Art Resource, NY Claude Monet (1840 1926)

found subjects for his paintings in his immediate

He took great inspiration from the garden and lily pond on

En Plein Air French for in the open air, en plein air is a

some even finished their paintings en plein air.

broken brush strokes, rather than smooth and unnoticeable

They also utilized many previously unused colors to paint

2 Monet and the Impressionists Impressionism Impressionism first emerged in the late 19th century as an artistic style that focuses on the effects of light and atmosphere on colors and forms. The Impressionists experimented with a new style of painting that gave an impression of a location or object. Far left: Dennis Stock; The gardens of Claude Monet, 1978; Magnum Photos Left: Claude Monet, French, ; The Artist s Garden at Giverny, 1902; oil on canvas; Oesterreichische Galerie im Belvedere, Vienna, Austria; Erich Lessing/ Art Resource, NY Claude Monet ( ) was a key figure in the Impressionist movement and often found subjects for his paintings in his immediate surroundings. He took great inspiration from the garden and lily pond on his property in Giverny, France. En Plein Air French for in the open air, en plein air is a term primarily used to describe the act of painting outdoors. Many Impressionist artists began their works outside and some even finished their paintings en plein air. Broken Brush Strokes Impressionist artists often used broken brush strokes, rather than smooth and unnoticeable ones, to create a sense of texture in their works of art. They also utilized many previously unused colors to paint scenes of everyday life. Detail Pierre-Auguste Renoir, French, ; The Dreamer, 1879; oil on canvas; 20 1/8 x 24 3/8 inches; Saint Louis Art Museum, Museum Purchase 5:1935 We are all the subjects of impressions, and some of us seek to convey the impressions to others. Camille Pissarro

3 Impressionists Focus On Technology With greater advances in travel, photography, and paint storage, Impressionist artists were able to explore and paint their world in new and exciting ways. The spread of railroads made travel from the city to the countryside much more convenient, allowing artists to study and paint various locations en plein air. As the practice of photography grew, artists were also able to capture fleeting moments in nature on film to later be studied and used for reference in their studios. The invention of the paint tube in 1841 made storing and transporting paints much easier. Unlike its predecessor, the pig s bladder, the tube was less likely to burst and prevented paint from drying out. Color Impressionist artists were very bold in their color choices, often mixing colors with one another directly on their canvases. They also had access to brighter colors than artists in the past, with the discovery of new elements and pigments. Old Master s Color Palette Impressionist s Color Palette Light and Time Impressionists were interested in the transitory nature of light and color. Artists would paint the same object or place multiple times to explore how light and color changed throughout the day. Monet and the Waterloo Bridge Between 1899 and 1901, Monet spent the winters in London where he primarily painted the Charing Cross and Waterloo bridges. Each painting of the Waterloo Bridge (below) uses color to convey a different atmospheric condition. Using purples, blues, and grays Monet was able to infuse each canvas with a feeling of sunlight, fog, and smoke. Claude Monet, French, Waterloo Bridge, Sunlight Effect, c.1900 (dated 1903) Milwaukee Art Museum, Bequest of Mrs. Albert T. Friedmann M Photo credit John R. Glembin Claude Monet, French, Waterloo Bridge: the Sun in a Fog, 1903 National Gallery of Canada, Ottawa Photo NGC Claude Monet, French, Waterloo Bridge, London, Cloudy Sky, 1903 Ordrupgaard, Copenhagen, Denmark Cameraphoto Arte, Venice/ Art Resource, NY

4 Describe Julien Dupré, French, ; Haying Scene, 1884; oil on canvas; 48 5/8 x 59 1/2 inches; Saint Louis Art Museum, Gift of Justina G. Catlin in memory of her husband, Daniel Catlin 25:1917 Edgar Degas, French, ; The Milliners, c.1898; oil on canvas; 29 5/8 x 32 1/4 inches; Saint Louis Art Museum, Director s Discretionary Fund; and gift of Mr. and Mrs. Wilbur D. May, Dr. Ernest G. Stillman, Mr. and Mrs. Sydney M. Shoenberg Sr. and Mr. and Mrs. Sydney M. Shoenberg Jr., Mr. and Mrs. Irving Edison, and Harry Tenenbaum, bequest of Edward Mallinckrodt Sr., and gift of Mr. and Mrs. S. J. Levin, by exchange 25:2007 How is the image on the left, produced in a traditional painting style, different from the image on the right, painted by an Impressionist artist? How are they similar?

5 Create Use the space provided to create your own Impressionist masterpiece. I have always loved sky and water, leaves and flowers... I found them in abundance in my little pond. Claude Monet

6 Landscapes During the Time of Monet A landscape is a painting, photograph, or other work of art that depicts scenery such as mountains, valleys, trees, rivers, and forests. Traditional landscapes have a foreground, middle ground, and background and usually show some sky in the scene. Look at Charles Francois Daubigny s painting Banks of the Oise. Can you identify the foreground, middle ground, and background? What is in the: Foreground? Middle ground? Charles François Daubigny, French, ; Banks of the Oise, 1863; oil on canvas; 35 x 63 1/2 inches; Saint Louis Art Museum, Friends Endowment, and gift of Justina G. Catlin in memory of her husband, Daniel Catlin, by exchange 84:2007 Background? Horizon Line A horizon line is the line where the sky meets land or water in a landscape. If the horizon line is higher in a painting it might make you feel like you are looking at a scene from high above. Trace the horizon line in Daubigny s painting. Artists are able to convey a feeling of distance by having two lines meet at a vanishing point. These lines meet at the horizon line, and objects in the distance get smaller as they converge. Paul Cornoyer, American, ; The Plaza after Rain (detail), before 1910; oil on canvas; 59 1/4 x 59 1/4 inches, framed: 68 x 68 inches; Saint Louis Art Museum, Museum Purchase 65:1910 Compare Monet s Water Lilies to Banks of the Oise. How do the two paintings differ? Can you find any similarities? Claude Monet, French, ; Water Lilies, c ; oil on canvas; 78 3/4 inches x 13 feet 11 3/4 inches; Saint Louis Art Museum, The Steinberg Charitable Fund 134:1956

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