모네의 작품을
많은 사람들이 가까이에서 감상하느라 애를 쓰다 다음 전시실로 옮긴다.
인상주의에 관하여 알고있다면, 모두들 작품을 가까이에서만 감상하지는 않았을텐데...
19세기 미술비평가들이 한 실수를, 21 세기의 관객들도 그대로 따르고 있다는 건 슬픈일.
인상주의자들은 화폭에 빛을 그리기위해 빠른 붓놀림을 사용하다보니 가까이에서보면 물감을 발라놓았다는 느낌이 들뿐이다. 인상주의의 작품은 멀리서볼때 놀라우리만치 맑은 하늘과 구름 그리고 물의 느낌을 사진과 같은 완벽한 풍경으로 감상할 수있다.
오랑쥬리 미술관에서 보았던 청수련은 디스플레이가 독특했었다.
각이 지지 않은 방은 사각이 둥그렇게 되어있었고,
그 위로 두루마리 휴지를 풀어놓은 것처럼
벽 네 면을 훑고있었다. 작품을 위해 일부러 만들어 놓은 것을 알 수 있었다.
이 글씨 클릭~ 모네 자료.
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.
http://seoulmoa.seoul.go.kr/
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
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
1903 (180 Kb); Oil on canvas, 74.6 x 105.3 cm (29 3/8 x 41 7/16 in); Private collection
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.
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.
R?ate ?Argenteuil
1872; Regatta at Argenteuil; Mus? d'Orsay, Paris
물을 보면 빛을 가장 잘 표현 할 수 있다던 모네의 작품.
여름 화창한 날 파란 하늘이 비친 살아있는 바다의 모습이다.
붓터치로 인해 생생한 현장을 느낄 수 있다.
이러한 대가의 작품들은 어색함이 없어서 좋다.
La Grenouill?e
1869; Metropolitan Museum of Art
모네의 초기 작품이다.
Magpie
1868-69 (100 Kb); Mus? d'Orsay, Paris
모네의 초기 작업 중 물이 아닌 눈의 모습이다.
어찌보면 우리나라의 시골 풍경 같단 느낌도 든다, 이름 모를 무명 작가의 시골 산간 초가집 울타리.
The Red Kerchief: Portrait of Camille Monet
probably late 1860s - early 1870s (50 Kb); Oil on canvas, 99 x 79.3 cm (39 x 31 1/4 in); The Cleveland Museum of Art
많은 사람들이 가까이에서 감상하느라 애를 쓰다 다음 전시실로 옮긴다.
인상주의에 관하여 알고있다면, 모두들 작품을 가까이에서만 감상하지는 않았을텐데...
19세기 미술비평가들이 한 실수를, 21 세기의 관객들도 그대로 따르고 있다는 건 슬픈일.
인상주의자들은 화폭에 빛을 그리기위해 빠른 붓놀림을 사용하다보니 가까이에서보면 물감을 발라놓았다는 느낌이 들뿐이다. 인상주의의 작품은 멀리서볼때 놀라우리만치 맑은 하늘과 구름 그리고 물의 느낌을 사진과 같은 완벽한 풍경으로 감상할 수있다.
오랑쥬리 미술관에서 보았던 청수련은 디스플레이가 독특했었다.
각이 지지 않은 방은 사각이 둥그렇게 되어있었고,
그 위로 두루마리 휴지를 풀어놓은 것처럼
벽 네 면을 훑고있었다. 작품을 위해 일부러 만들어 놓은 것을 알 수 있었다.
이 글씨 클릭~ 모네 자료.
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.
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
1903 (180 Kb); Oil on canvas, 74.6 x 105.3 cm (29 3/8 x 41 7/16 in); Private collection
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.
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.
1872; Regatta at Argenteuil; Mus? d'Orsay, Paris
물을 보면 빛을 가장 잘 표현 할 수 있다던 모네의 작품.
여름 화창한 날 파란 하늘이 비친 살아있는 바다의 모습이다.
붓터치로 인해 생생한 현장을 느낄 수 있다.
이러한 대가의 작품들은 어색함이 없어서 좋다.
1869; Metropolitan Museum of Art
모네의 초기 작품이다.
1868-69 (100 Kb); Mus? d'Orsay, Paris
모네의 초기 작업 중 물이 아닌 눈의 모습이다.
어찌보면 우리나라의 시골 풍경 같단 느낌도 든다, 이름 모를 무명 작가의 시골 산간 초가집 울타리.
probably late 1860s - early 1870s (50 Kb); Oil on canvas, 99 x 79.3 cm (39 x 31 1/4 in); The Cleveland Museum of Art
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