sunrise, sunset
Impression 으로 붙여진 이 작품으로 인하여 impressionism이라는 사조가 생겨나기 시작했다.
야외에서 그 순간을 포착해서 그리다보니,
순식간에 단숨에 그려 가까이에서 이 그림을 볼 때면 무엇을 그렸는지 형태를 알 수없고 물감만을 발라놓은 것 같은 그림이 인상주의 작가들의 특징이다. 하지만, 이 그림들을 멀리서 바라보면 이것은 그야말로 사진과 거의 흡사하다시피한 완벽한 풍경이었던 것이다.
1873 (210 Kb); Oil on canvas, 48 x 63 cm (19 x 24 3/8"); Musee Marmottan, Paris
Monet painted this picture of the sun seen through mist at the harbour of Le Havre when he was staying there in the spring of 1872. A sketch quickly executed to catch the atmospheric moment, it was catalogued as Impression: soleil levant when exhibited in 1874 in the first exhibition of the group (as yet described simply as the Soci??Anonyme des Artistes-Peintres). The word `Impression' was not so unusual that it had never before been applied to works of art but the scoffing article by Louis Leroy in Le Charivari which coined the word Impressionnistes as a general description of the exhibitors added a new term to the critical vocabulary that was to become historic. It was first adopted by the artists themselves for their third group exhibition in 1877, though some disliked the label. It was dropped from two of the subsequent exhibitions as a result of disagreements but otherwise defied suppression.
Monet's Impression was not in itself a work that need be regarded as the essential criterion of Impressionism, vivid sketch though it is. There are many works before and after that represent the aims and achievements of the movement more fully. Yet it has a particular lustre and interest in providing the movement with its name.
Coquelicots (Poppies, Near Argenteuil)
1873; Musee d'Orsay, Paris
*양귀비꽃*
모네의 이 작품은 행복해보인다.
풍경에 인물이 들어있다.
모자쓴 여인과 소녀의 모습이
햇살을 즐기러 나온 모녀가 아닐까?
하늘과 양귀비밭이 1:1 비율이지만
양귀비꽃과 인물로 인해 안정감있고 지루하지 않은 작품이다.
Garden at Sainte-Adresse
1867 ; Oil on canvas, 98.1 x 129.9 cm (38 5/8 x 51 1/8 in); Metropolitan Museum of Art, New York
햇살에 앉아 있는 노부부와 바다를 바라보는 젊은 부부.
바다와 꽃들이 만발한 정원이 보여진다...'끌로드 모네'(1840-1926)..
..그는 무척이나 그림을 빨리 그리는 화가였다고 한다..
..많은 인상주의 그림들이 그러하듯이..
..그의 작업은 대부분 화실이 아닌 야외에서 이루어졌으며..
..그때마다 그는 하루만에 그림을 완성시켰다고 한다..
..어느날 누군가 그에게 이렇게 물었다고 한다..
..오늘 다 못그리면 내일 마저 그리면 되지않느냐고..
.."지금 우리가 보고있는 이 빛이..
.. 내일도 같으리라고 생각하십니까?"
..그것이 그의 대답이었다..
..사람들은 가끔 내게 물어온다..
..무거운 카메라 가방을 왜 매일 들고다니냐고..
..모네의 대답으로 그 질문의 답을 대신하려한다..
..내일은 비가 멎어버릴지도 모르니까..
..내일이면 유리창에 저 빗물이 말라버릴지도 모르니까..
..내일은 그사람이 그 자리에 없을지도 모르니까..
..내일도 오늘 같다면 사는게 너무 재미없을테니까..
..<내일은 오늘과 달라야만 한다>..
1903 (180 Kb); Oil on canvas, 74.6 x 105.3 cm (29 3/8 x 41 7/16 in); Private collection
1906 (190 Kb); Oil on canvas, 87.6 x 92.7 cm (34 1/2 x 36 1/2 in); The Art Institute of Chicago
His youth was spent in Le Havre, where he first excelled as a caricaturist but was then converted to landscape painting by his early mentor Boudin, from whom he derived his firm predilection for painting out of doors. In 1859 he studied in Paris at the Atelier Suisse and formed a friendship with Pissarro. After two years' military service in Algiers, he returned to Le Havre and met Jongkind, to whom he said he owed `the definitive education of my eye'. He then, in 1862, entered the studio of Gleyre in Paris and there met Renoir, Sisley, and Bazille, with whom he was to form the nucleus of the Impressionist group. Monet's devotion to painting out of doors is illustrated by the famous story concerning one of his most ambitious early works, Women in the Garden (Mus? d'Orsay, Paris; 1866-67). The picture is about 2.5 meters high and to enable him to paint all of it outside he had a trench dug in the garden so that the canvas could be raised or lowered by pulleys to the height he required. Courbet visited him when he was working on it and said Monet would not paint even the leaves in the background unless the lighting conditions were exactly right.
During the Franco-Prussian War (1870-71) he took refuge in England with Pissarro: he studied the work of Constable and Turner, painted the Thames and London parks, and met the dealer Durand-Ruel, who was to become one of the great champions of the Impressionists. From 1871 to 1878 Monet lived at Argenteuil, a village on the Seine near Paris, and here were painted some of the most joyous and famous works of the Impressionist movement, not only by Monet, but by his visitors Manet, Renoir and Sisley. In 1878 he moved to V?heuil and in 1883 he settled at Giverny, also on the Seine, but about 40 miles from Paris. After having experienced extreme poverty, Monet began to prosper. By 1890 he was successful enough to buy the house at Giverny he had previously rented and in 1892 he married his mistress, with whom he had begun an affair in 1876, three years before the death of his first wife. From 1890 he concentrated on series of pictures in which he painted the same subject at different times of the day in different lights---Haystacks or Grainstacks (1890-91) and Rouen Cathedral (1891-95) are the best known. He continued to travel widely, visiting London and Venice several times (and also Norway as a guest of Queen Christiana), but increasingly his attention was focused on the celebrated water-garden he created at Giverny, which served as the theme for the series of paintings on Water-lilies that began in 1899 and grew to dominate his work completely (in 1914 he had a special studio built in the grounds of his house so he could work on the huge canvases).
In his final years he was troubled by failing eyesight, but he painted until the end. He was enormously prolific and many major galleries have examples of his work
1916-1923; Orangerie, Paris
Monet, Claude
monet, Claude (b. Nov. 14, 1840, Paris, Fr.--d. Dec. 5, 1926, Giverny)
French painter, initiator, leader, and unswerving advocate of the Impressionist style. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career, and it is fitting that one of his pictures--Impression: Sunrise (Mus? Marmottan, Paris; 1872)--gave the group his name.
빛과 색채의 관계, 양산위 빛과 투과한 빛의 차이, 둔덕 위 풀잎은 햇살이 비칠 때와 그림자 속에서 어떻게 달라지는가?
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