0

Claude Monet

eBook

Erschienen am 17.01.2012, Auflage: 1/2012
14,99 €
(inkl. MwSt.)

Download

E-Book Download
Bibliografische Daten
ISBN/EAN: 9781780427317
Sprache: Englisch
Umfang: 200 S., 57.95 MB
E-Book
Format: PDF
DRM: Nicht vorhanden

Beschreibung

For Claude Monet the designation impressionist always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, LAcadémie Suisse, established by an ex-model on the Quai dOrfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyres studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shores variable nature. At this time Monets landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudins seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monets work is in line not only with Manets Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, My studio! Ive never had a studio, and I cant see why one would lock oneself up in a room. To draw, yes to paint, no. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, Theres my real studio.Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monets, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

Informationen zu E-Books

Alle hier erworbenen E-Books können Sie in Ihrem Kundenkonto in die kostenlose PocketBook Cloud laden. Dadurch haben Sie den Vorteil, dass Sie von Ihrem PocketBook E-Reader, Ihrem Smartphone, Tablet und PC jederzeit auf Ihre gekauften und bereits vorhandenen E-Books Zugriff haben.

Um die PocketBook Cloud zu aktivieren, loggen Sie sich bitte in Ihrem Kundenkonto ein und gehen dort in den Bereich „Downloads“. Setzen Sie hier einen Haken bei „Neue E-Book-Käufe automatisch zu meiner Cloud hinzufügen.“. Dadurch wird ein PocketBook Cloud Konto für Sie angelegt. Die Zugangsdaten sind dabei dieselben wie in diesem Webshop.

Weitere Informationen zur PocketBook Cloud finden Sie unter www.meinpocketbook.de.

Allgemeine E-Book-Informationen

E-Books in diesem Webshop können in den Dateiformaten EPUB und PDF vorliegen und können ggf. mit einem Kopierschutz versehen sein. Sie finden die entsprechenden Informationen in der Detailansicht des jeweiligen Titels.

E-Books ohne Kopierschutz oder mit einem digitalen Wasserzeichen können Sie problemlos auf Ihr Gerät übertragen. Sie müssen lediglich die Kompatibilität mit Ihrem Gerät prüfen.

Um E-Books, die mit Adobe DRM geschützt sind, auf Ihr Lesegerät zu übertragen, benötigen Sie zusätzlich eine Adobe ID und die kostenlose Software Adobe® Digital Editions, wo Sie Ihre Adobe ID hinterlegen müssen. Beim Herunterladen eines mit Adobe DRM geschützten E-Books erhalten Sie zunächst eine .acsm-Datei, die Sie in Adobe® Digital Editions öffnen müssen. Durch diesen Prozess wird das E-Book mit Ihrer Adobe-ID verknüpft und in Adobe® Digital Editions geöffnet.

Weitere Artikel vom Autor "Brodskaya, Nathalia/Kalitina, Nina"

Alle Artikel anzeigen