With Impression, Sunrise, exhibited in 1874, Claude Monet (18401926) took part in thecreation of the Impressionist movement that introduced the 19th century to modern art. All his life, he captured natural movements around him and translated them into visual sensations. A complex man and an exceptional artist, Monet is internationally famous for his poetic paintings of waterlilies and beautiful landscapes. He leaves behind the most wellknown masterpieces that still fascinate art lovers all over the world. In this twovolume illustrated work, Natalia Brodskaya and Nina Kalitina invite us on a journey across time to discover the history of Impressionism and Monet; a movement and an artist forever bound together. Specialists of 19th and 20th century art, the authors shed light on the birth of modernity in art, a true revolution responsible for the thriving art scene of the 20th century.
For a general audience interested in solving mysteries in art, history, and literature using the methods of science, 'forensic astronomy' is a thrilling new field of exploration. Astronomical calculations are the basis of the studies, which have the advantage of bringing to readers both evocative images and a better understanding of the skies. Weather facts, volcano studies, topography, tides, historical letters and diaries, famous paintings, military records, and the friendly assistance of experts in related fields add variety, depth, and interest to the work. The chosen topics are selected for their wide public recognition and intrigue, involving artists such as Vincent van Gogh, Claude Monet, Edvard Munch, and Ansel Adams; historical events such as the Battle of Marathon, the death of Julius Caesar, the American Revolution, and World War II; and literary authors such as Chaucer, Shakespeare, Joyce, and Mary Shelley. This book sets out to answer these mysteries indicated with the means and expertise of astronomy, opening the door to a richer experience of human culture and its relationship with nature. Each subject is carefully analyzed. As an example using the study of sky paintings by Vincent van Gogh, the analytical method would include: - computer calculations of historical skies above France in the 19th century - finding and quoting the clues found in translations of original letters by Van Gogh - making site visits to France to determine the precise locations when Van Gogh set up his easel and what celestial objects are depicted. For each historical event influenced by astronomy, there would be a different kind of mystery to be solved. As an example: - How can the phase of the Moon and time of moonrise help to explain a turning point of the American Civil War - the fatal wounding of Stonewall Jackson at Chancellorsville in 1863? For each literary reference to astronomy, it was determined which celestial objects were being described and making an argument that the author is describing an actual event. For example, what was the date of the moonlit scene when Mary Shelley first had the idea for her novel “Frankenstein?” These and more fun riddles will enchant and delight the fan of art and astronomy.
One understudied aspect of the life and works of Oscar-Claude Monet (1840-1926) is the artist's engagement with the town of Étretat on the Normandy coast of France during the mid-1880s. Monet traveled there twice for extended painting sojourns and eventually created over eighty works, more than he painted of any other site away from his home. Through these visits, Monet witnessed Étretat's shift from a quiet fishing village in a dramatic natural setting to a tourist destination. In this focused study, Chiyo Ishikawa places Monet's Étretat works within the context of his artistic ambition and frustration at a key moment in his life and career. She also explores the changing relationship between society and landscape in late nineteenth-century France. The book features sixteen paintings by Monet and his contemporaries Gustave Courbet, Camille Corot, and Eugène Boudin, supplemented by photographs and ephemeral material to bring to life Monet's experience in the region. The biographical context, in addition to the immersive visual experience, offers a vivid account of this significant aspect of Monet's artistic progression.
With Impression, Soleil Levant, exhibited in 1874, Claude Monet (1840-1926) took part in the creation of the Impressionism movement that introduced the 19th century to modern art. All his life, he captured natural movements around him and translated them into visual sensations. Considered the leader of Impressionism, Monet is internationally famous for his poetic paintings of water lilies and beautiful landscapes. He leaves behind the most well-known masterpieces that still fascinate art lovers all over the world. Nathalia Brodskaïa is a curator at the State Hermitage Museum in St Petersburg. She has published monographs on Rousseau, Renoir, Derain, Vlaminck, and Van Dongen, as well as many books on the Fauves and Naïve Art. She is currently working on a study of French painters at the end of the 19th and the beginning of the 20th century.
The Artist’s Garden offers an intriguing study into 20 gardens that have inspired and been home to some of the greatest painters of history. The most alluring image of an artist at work is surely one where he or she has come out of their studio, set up their easel on the garden path, pulled on a hat to shade their eyes from the sun and taken their brush and palette in hand. This sumptuously illustrated and fascinating book delves into the stories behind the gardens which inspired some of the most beautiful and important works of art. These gardens not only supplied the inspiration for creative works but also illuminate the professional motivation and private life of the artists themselves – from Cezanne’s house in the south of France to Childe Hassam at Celia Thaxter’s garden off the coast off Maine. Flowers and gardens have often been the first choice for artists looking for a subject. A garden close to the artist’s studio is not only convenient for daily material and ideas, but also has the advantage of changing through the seasons and over time. Claude Monet’s Giverny was the catalyst for hundreds of great paintings (by Monet and other artists), each one different from the one before. Sometimes a whole village becomes the focus for a colony of artists as at Gerberoy in Picardy and Skagen on the northernmost tip of Denmark. This book is about the real homes and gardens that inspired these great artists – gardens that can still be visited today. The relationship between artist and garden is a complex one. A few artists, including Pierre Bonnard and his neighbour Monet were keen gardeners, as much in love with their plants as their work, while for others like Sorolla in Madrid, his courtyard home was both a sanctuary and a source of ideas. This book is as unmissable for art lovers as it is for anyone who knows the joy of time spent in gardens, offering an intriguing insight into the lives of these great painters and the gardens which inspired them to their creative heights.
THE CLAUDE MONET MCQ (MULTIPLE CHOICE QUESTIONS) SERVES AS A VALUABLE RESOURCE FOR INDIVIDUALS AIMING TO DEEPEN THEIR UNDERSTANDING OF VARIOUS COMPETITIVE EXAMS, CLASS TESTS, QUIZ COMPETITIONS, AND SIMILAR ASSESSMENTS. WITH ITS EXTENSIVE COLLECTION OF MCQS, THIS BOOK EMPOWERS YOU TO ASSESS YOUR GRASP OF THE SUBJECT MATTER AND YOUR PROFICIENCY LEVEL. BY ENGAGING WITH THESE MULTIPLE-CHOICE QUESTIONS, YOU CAN IMPROVE YOUR KNOWLEDGE OF THE SUBJECT, IDENTIFY AREAS FOR IMPROVEMENT, AND LAY A SOLID FOUNDATION. DIVE INTO THE CLAUDE MONET MCQ TO EXPAND YOUR CLAUDE MONET KNOWLEDGE AND EXCEL IN QUIZ COMPETITIONS, ACADEMIC STUDIES, OR PROFESSIONAL ENDEAVORS. THE ANSWERS TO THE QUESTIONS ARE PROVIDED AT THE END OF EACH PAGE, MAKING IT EASY FOR PARTICIPANTS TO VERIFY THEIR ANSWERS AND PREPARE EFFECTIVELY.
Dr. Carl J. Sindermann, Ph.D., D.Sc. (Hon.), in addition to his long term positions as research laboratory director and research center director, has been a prolifi c writer of technical articles and books in his scientifi c specialties as well as a series of books about scientists of which this is the sixth volume. Some of his books have won awards and some have not; probably his most important contribution to science itself was his thousand page two volume treatise on Principal Diseases of Marine Fish and Shellfi sh, published by Academic Press in 1990 and supported at that time by a published record of more than 100 of his own technical papers and a rapidly expanding printed literature, world-wide in scope. Along this long publication route he has produced other technical books with such diverse titles as Sea Herring Stocks of the North Atlantic, Disease Control in North American Marine Aquaculture, Ocean Pollution, and Coastal Pollution. Dr. Sindermann, through his many roles in joint foreign science programs, fi ts a designation of an "international scientist." Beginning with his early cooperative work with Candians of the Fisheries Research Board of Canada on fi sh diseases in the Gulf of Saint Lawrence, he went on to provide voluminous data to the FAO-UN International Commission for the Northwest Atlantic Fisheries (ICNAF) in a book titled "Herring Stocks of the Western North Atlantic." He also participated in activities of the Copenhagen-based International Council for the Exploration of the Sea (ICES), serving for a decade as chairman of a working group on Introductions of Non-Indigenous Marine Species. He was also a long-term panel member of the Tokyobased United States-Japan Joint Natural Resources Panels (UJNR), serving for several years as editor of "Proceedings of UJNR."
Part of the highly-successful Anholt's Artists series about great painters, which tells the stories of real meetings between world-famous artists and the children who knew them. When Julie's dog disappears into a mysterious garden, Julie follows him - and finds herself in a beautiful garden-within-a-garden where the roses grow like splashes of paint and a Japanese bridge bows over a silent pool. There she finds not only her dog, but also Claude Monet. The famous artist introduces her to his work and his garden, giving her encouragement that the young would-be artist will never forget. Set against the romantic, world-famous backdrop of Monet's garden at Giverny, the story is accompanied by reproductions of the artist's most celebrated paintings and a biographical note on Monet.
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, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres 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 Gleyre’s 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 shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s 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 Monet’s work is in line not only with Manet’s 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! I’ve never had a studio, and I can’t 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, “There’s 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 Monet’s, 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.
