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“Monet is just an eye, but, my God, what a one!” Paul Cezanne

November 14, 1840 Oscar Claude Monet was born in Paris, French painter, one of the founders of impressionism. His famous water lilies, poppy fields, the Parliament building are among the most expensive and revered paintings in the world.

Monet is remembered in world history primarily as a revolutionary in art. He was the first to develop new writing techniques, the first to use new theory color range, was the first to depict an object several times under different lighting and weather conditions.

Painting “Impression. Sunrise" became the starting point for the work of all impressionists.

However, like most innovators, the artist’s life was not easy. Back in mature age he began to have problems with his vision, and by the end of his life he was completely blind due to double cataracts. But the legacy that Claude Monet left behind is considered the real heritage of all humanity and is scattered throughout the most the best museums and galleries of the world.

On this day the editorial office website I decided to tell you about the history of creation best paintings the artist and gives his most famous quotes.

Terrace at Sainte-Adresse, 1867

Metropolitan Museum of Art, New York

One of Monet's early masterpieces, this painting is not only of artistic value, but also of biographical value. It was written at a time when the artist, suffering from lack of money, was forced to leave Paris and return to his father’s house. The two figures sitting in the chairs are Monet's father and probably his aunt. The artist’s cousin stands in front of them with an unknown person. During this period, Monet still strived for a strict construction of the painting: it is clearly written, carefully verified in composition and bears little resemblance to the soft, blurry tones of the works of a later period.

Houses of Parliament in London, 1904

Musee d'Orsay, Paris

Claude Monet painted a series of paintings of the Palace of Westminster, the building of the British Parliament, during his stay in London from 1900 to 1905. The paintings have the same size and point of view - Monet's window at St. Thomas's Hospital overlooking the Thames. They are, however, colored different times day and under various natural circumstances. During this period, he abandoned his early working practice of completing paintings on site in front of the object.

Field of poppies near Argenteuil, 1873

Musee d'Orsay, Paris

The painting was painted when Monet lived in a small town near Paris - Argenteuil. A beautiful garden and a small house - everything the artist could only dream of. The painting shows Monet's wife and son. Wanting to convey a sense of movement, Monet added a second pair of figures at the top of the hill. They are connected to the figures on foreground a barely noticeable path running through the grass. It seems that the figures of a woman and a boy seem to grow straight out of the field.

Breakfast on the grass, 1866

Pushkin State Museum of Fine Arts, Moscow

In 1865, Claude Monet was working near Paris on a large painting, Luncheon on the Grass. The finished canvas did not satisfy the artist, and he left for Paris, leaving it as collateral for the owner of the house in Chailly. Upon his return, Monet found the canvas badly damaged by dampness and, saving the painting, cut it into three parts. Then he finally decided to paint a picture on this topic, and, being in Chailly again in 1866, he created a smaller version of the large composition.

Lady with an Umbrella Turning Left, 1866

Musee d'Orsay, Paris

Claude Monet called "man of the sun" because bright light, which distinguishes most of his landscapes. The model for “Lady” was Suzanne Goschede, who became adopted daughter Monet after he married her mother. “The Lady” is distinguished by its striking pose, distinct image, and energetic style of writing. In a word - this real Monet at its best.

Women in the Garden, 1866

Despite the fact that “Women in the Garden” is one of the largest paintings ever painted by the Impressionists (its dimensions are 255x201 cm), Monet worked on it in the open air, for which he had to dig a ditch in the garden and raise or lower the canvas using the gate. Model for all four female figures served him future wife, Camilla.

Mannport, 1883

Metropolitan Museum of Art, New York

The impressive chalk cliffs near Etretat, on the Normandy coast, have attracted artists since the 18th century. Monet visited here every year from 1883 to 1886 and painted more than 60 paintings here, six of which depict the same view of the largest arch, known as the Mannport.

Water lilies, 1916

National Museum Western art, Tokyo

From about 1905 until the end of his days, Monet concentrated entirely on water lilies. These are paintings in which water lily cups literally materialize on the surface of water that does not have a horizon line. In fact, these series of paintings, like any brilliant work of art, defy explanation. These are the works of a poet who has a keen sense of nature and is able to convey its beauty in his painting.

Other notable works

Coast near Sainte-Adresse, 1867

Lady in the Garden of Sainte-Adresse, 1867

Bridge at Argenteuil, 1874

The artist Claude Monet, having heard about a certain painting dealer (Durand-Ruel), painted a series of not two or three, but eleven paintings, each of which depicted a foggy landscape with the London Parliament building on the banks of the Thames. All work, according to the author,

In general, Monet created paintings on the theme of London fog according to at least 37 canvases, but painting a series depicting Parliament was difficult for him. As he said, the images eluded him, changing every now and then. Therefore, having started in 1901, he was able to finish it only by returning to his workshop in 1904.

What can be noted in each painting in the series? In an effort to convey all the density and materiality of the fog, the artist blurs all forms, simultaneously erasing boundaries (this is especially obvious at the point where the surface of the water and the sky meet). The boatmen in some of the paintings stand in their vessels, trying to make out through the thickness of the fog where they should go. The buildings appear as a silhouette, a blurry shadow that is devoid of materiality, and only its reflection in the water proves that this is a three-dimensional building, and not a ghostly mirage.

Thick and grainy strokes cover the entire canvas, which further enhances the effect of nebula and allows you to convey the whole play of light, which is completely different from other paintings. different paintings series. It is also interesting that the parliament building has somewhat unnatural proportions, which is most noticeably expressed in the elongation of the central tower, which is not typical for other paintings by the author. Perhaps this is a consequence of the processing of paintings in the studio, or perhaps a deliberate technique to create an ideal composition in the form that the artist sees it.

In the paintings of the “Parliament in London” series, Monet was able to create the most colorful texture, achieving a unified composition and conveying all the mood and all the images of the London fog.

Primary school teacher, Municipal Educational Institution TEL, Novorossiysk

Litvinenko Tatyana Anatolevna

Claude Monet "London. Parliament"

Composition

Plan:

• What building and in what city did the artist depict?

2. What natural phenomena attracted the artist’s attention?

3. How does sunlight color the sky and water?

4. How does the landscape change due to fog?

5. What impression is created in the picture due to sunlight and fog?

Composition Belyaeva Olga

In the painting by Claude Monet “London. Parliament.", the artist depicted

The Palace of Westmina is the seat of the English Parliament. This is one of

the most beautiful and famous buildings in London.

Fog, frequent natural phenomenon in London. This city is still

called "Foggy Albion". And in the wee hours of London

the landscapes are especially good.

The sun has not yet risen, but its rays have already painted the sky golden

peach warm colors. The cold waters of the Thames reflect the heavenly

a riot of colors and Westmina Abbey.

Thanks to the fog, everything seems to be in a purple haze. Clear outline

buildings appear blurry. The pointed spiers of the turrets, as if

dissolve into the heights. The boundaries of the castle and its reflections in the water have been erased.

Even a lone boat seems just a blur.

The Victoria Tower rises majestically and romantically above

Royal entrance of the famous clock tower Big Ben striking

first morning hours.

It all seems like a breeze will blow and take away with it the fog and this ghostly,

castle in the air

Composition Dorokhova Alina students of grade 3 “B” of the Municipal Educational Institution Lyceum “Technical and Economic”

Claude Monet's painting depicts London

Parliament. This painting dates back to the first London

Monet's period.

The artist’s attention is drawn to the city that has descended

fog. Bright rays break through the gray veil

rising sun.

Thanks to sunlight, the sky and water merge at

horizon into a single whole. Bright orange illuminates

city. The entire London Parliament is reflected in the water.

Fog gives the landscape a mysterious look, and sunny

the light dazzles and attracts with its beauty.

In this painting the artist conveyed a typical landscape,

typical of London.

Composition Kozlova Polina students of grade 3 “B” of the Municipal Educational Institution Lyceum “Technical and Economic”

London. Early foggy morning. In the haze, like rocks

steep bank, the London building is visible

Parliament.

At its foot the Thames wakes up in small ripples. In this

lost in the ripples was the timid morning sun, which with its

trying to caress the still sleeping city with rays through the fog.

A lonely fisherman's boat glides smoothly down the river. AND

I really want to believe that the fisherman will return home today with

catch.

Good morning, London!

Claude Monet London.Parliament. (essay based on a painting) Student 3 “B” class MBOU Lyceum No. 7, Krasny Sulin Rostov region Loktionova Semyon

Claude Monet is a representative of impressionism (French - impression) - a movement in art last third XIX - early XX centuries He tried to capture, as naturally and freshly as possible, a fleeting impression of a rapidly flowing, constantly changing life. Subjects of the paintings: city streets, rural landscapes, familiar and familiar buildings. The main thing for him was the alternation of light and shadow, the bizarre play of sun “bunnies” on the most ordinary objects. Monet use new technology writing, in which the paints were not mixed on the easel, but were applied to the canvas with a brush in the form of separate strokes. His works should be viewed from a distance, then clear separate strokes smoothly transform into each other, and a feeling of dynamics is created. It turns out that volumetric forms gradually dissolve in the light-air shell that envelops them. (1840-1926)

London. Parliament. 1904

One of these paintings is “London. Parliament" (1904), where the artist depicted the Palace of Westmina - the seat of the English Parliament. This is one of the most beautiful and famous buildings in London. Blurred shapes and lack of boundaries between sky and water. Here architectural structure devoid of materiality, it becomes an ethereal silhouette, blurry, barely distinguishable from its reflection in the water. This further enhances the impression of unreality and ghostliness of the Parliament building, which appears on the canvas like a ghost. It looks like rocks on a steep bank. The pointed spiers of the turrets seem to dissolve into the heights. The Victoria Tower rises majestically and romantically above the royal entrance of the famous Big Ben clock tower, which chimes the first hours of the morning. In addition, to enhance the visionary nature of the architecture, Monet changes its proportions and visually lengthens the height of the central tower. The boundaries of the castle and its reflections in the water have been erased. At its foot the Thames wakes up in small ripples. Lost in it is the timid morning sun, which with its rays through the fog is trying to caress the still sleeping city. A lonely fisherman's boat glides smoothly down the river. The sun has not yet risen, but its rays have already painted the sky in golden-peach warm colors. The cold waters of the Thames reflect a heavenly riot of colors. Thanks to the fog, everything seems to be in a purple haze. The uniformity of the colorful texture creates a feeling of fog density and makes it possible to alternate strokes of different colors. With their help, the artist conveys the play of light and emphasizes the interpenetration of reality and its image. In the painting, the palette retains the artist’s inherent sense of proportion and is limited mainly to blue, yellow and some shades of pink and purple.

Links: http://gallerix.ru/album/Claude-Monet - reproduction of a painting by Monet London. Parliament http://ru.wikipedia.org/wiki/%D0%9C%D0%BE%D0%BD%D0%B5,_%D0%9A%D0%BB%D0%BE%D0%B4 – Portrait of Claude Monet, about the life of the artist. http://impressionnisme.narod.ru/index.htm - article impressionism.

Oscar Claude Monet

(1840 - 1926) -

french painter,

one of the founders of impressionism.

Series of paintings by Claude Monet “Parliament in London”

Claude Monet, having heard about a certain painting dealer, painted a series of not 2-3, but eleven paintings, each of which depicted a foggy landscape with the London Parliament building on the banks of the Thames. In general, Monet created at least 37 paintings on the theme of London fog. Painting a series depicting Parliament was difficult for him. As he said, the images eluded him, changing every now and then. Therefore, having started in 1901, he was able to finish it only by returning to his workshop in 1904.

What can be noted in each painting in the series? In an effort to convey all the density and materiality of the fog, the artist blurs all forms, simultaneously erasing boundaries (this is especially obvious at the point where the surface of the water and the sky meet). The boatmen in some of the paintings stand in their vessels, trying to make out through the thickness of the fog where they should go. The buildings appear as a silhouette, a blurry shadow that is devoid of materiality, and only its reflection in the water proves that this is a three-dimensional building, and not a ghostly mirage.

Thick and grainy brushstrokes cover the entire canvas, which further enhances the hazy effect and allows you to convey the entire play of light, which is completely different from others in different paintings in the series. It is also interesting that the parliament building has somewhat unnatural proportions, which is most noticeably expressed in the elongation of the central tower, which is not typical for other paintings by the author. Perhaps this is a consequence of the processing of paintings in the studio, or perhaps a deliberate technique to create an ideal composition in the form that the artist sees it.

In the paintings of the “Parliament in London” series, Monet was able to create the most colorful texture, achieving a unified composition and conveying all the mood and all the images of the London fog.

Parliament House

in London

1900-1904

Oil on canvas, 92 x 215

This is the story that happened with this painting by the artist.

Londoners, accustomed to fog, knew exactly its color - gray. How amazed and even outraged they were when they saw Monet’s painting at the exhibition! On it they discovered that the fog blurring the outlines of the castle had a purple hue! When people went outside, they, to their surprise, discovered that the fog was actually purple!

Indeed, depending on the weather, time of day, and the refraction of sunlight, fog can take on very different colors. But it was the artist who noticed and revealed this feature to everyone.

"Parliament in London" - the clearest example the main principle of Monet's painting - he does not recognize objective reality, rejects the immutability of any qualities of objects, and claims that the color and shape of what is depicted depends only on momentary lighting.

Through the thick fog, illuminated by the last flashes of the setting sun, the outlines of one of the most recognizable buildings in London emerge. The spiers of the Westminster Tower pierce the sky with sharp needles. The sun illuminates the restless small waves of the river, coloring water surface in golden tones. Only the magnificent Monet could notice this majestic but fleeting beauty, make time stop in order to tell everyone else about it.

The Rouen Cathedral cycle is a series of 30 paintings by the French impressionist artist Claude Monet, representing various types cathedral depending on

time of day, year and lighting, painted by the artist in the 1890s.

A series of paintings looks like many copies of photographs, each of which has some kind of filter applied. However, if you look closely, you can find many differences. Each work depicts the cathedral differently than the previous one. It's all in the lighting. At different times of the day, the source of light - the sun - is located at different points in the sky. By illuminating the composition of the cathedral in different ways, the luminary changes the location of the shadows on the building, creating bizarre shapes. For Monet, the effects of light became as important as the subject matter.

The cathedral allowed the artist to highlight the paradox between the seemingly constant, solid structure and the changing light that easily plays with our perception. The artist decides to concentrate on individual fragments gothic cathedral and chooses the portal, the tower of St. Martin and the tower of Alban. He is solely interested in the play of light on the stone; sky and earth almost cease to exist.

It is impossible to imagine how much the artist loved this miracle of architecture if he painted so many paintings with its image. From Monet’s paintings, the cathedral appears to the viewer in a completely different way: mysterious, lost or confident, cheerful. Weather conditions change the atmosphere of the painting, and with it the mood that the artist conveys.