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See how iconic artists like Claude Monet were influenced by their environments in this beautiful series produced in collaboration with The Met. See the world through Claude Monet’s’ eyes and be inspired to produce your own masterpieces. Have you ever wondered exactly what your favorite artists were looking at to make them draw, sculpt, or paint the way they did? In this charming illustrated series of books to keep and collect, created in full collaboration with the Metropolitan Museum of Art, you can see what they saw and be inspired to create your own artwork, too. In What the Artist Saw: Claude Monet, meet famous French painter Claude Monet. Step into his life and learn how he pioneered the Impressionist movement. Learn all about his love of nature and how he was inspired to paint light, water, and water lilies. Have a go at producing your own art inspired by what you find most beautiful about nature! In this series, follow the artists’ stories and find intriguing facts about their environments and key masterpieces. Then see what you can see and make your own art. Take a closer look at landscapes, or even yourself, with Vincent van Gogh. Try crafting a story in fabric like Faith Ringgold, or carve a woodblock print at home with Hokusai. Every book in this series is one to treasure and keep— perfect for budding young artists to explore exhibitions with, then continue their own artistic journeys.
Claude Monet by Nina Kalitina,Nathalia Brodskaya Pdf
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.
Claude Monet is considered one of the most influential artists of all time. He is a founder of the French Impressionist art movement, and today his paintings sell for millions of dollars. While Monet was alive, however, his work was often criticized and he struggled financially. With over one hundred black-and-white illustrations, this book unveils a true portrait of the artist!
In November 1885, impressionist painter Claude Monet vacationed in Étretat, France, where he spent his days outside, painting scenes of the seaside village. One morning he rose early and carried all of his supplies and half-finished paintings out to the cliffs and rocky beach, finally stopping to paint the arch called Manneporte. Eager to capture the scene before him, and aware that he must work quickly to catch the light, Monet became so engrossed in his work that he forgot to watch the incoming tide. Based on a true incident, MONET PAINTS A DAY introduces readers to the life and nature of this illustrious impressionist. Interspersed throughout the story are excerpts from the painter’s notes and letters, while a second layer of text and back matter includes information about Impressionism as a whole. Lush watercolor illustrations in the Impressionist style give readers a visual for this artistic movement. A bibliography is also included.
Portrait of an Artist: Claude Monet by Lucy Brownridge Pdf
A beautifully told art story for children, looking at Claude Monet's life through his masterpieces. Accompanied by stunning original illustrations from Caroline Bonne-Muller. â??â??â??â??â?? - The Portrait of an Artist series is an excellent introduction to art and its importance to our world. Claude Monet is one of the best loved artists of all time. Find out how this special young painter strove to capture light and feeling in his paintings and how together with a group of talented friends, he came to start the most famous art movement of all time, Impressionism. In his long life he experienced war and heartbreak, love and the joy of family. See how his life shaped each piece of art he made and that throughout it all he never stopped trying to paint the ever changing light and glimmering water. In the end he built himself a garden filled with both, with waterlilies floating on dappled ponds setting the scene for his last, infamous masterpieces. A Monet masterpiece is featured on every spread. This art story also includes a closer look at 10 of Monet's masterpieces at the back.
Claude Monet: by Nathalia Brodskaïa,Nina Kalitina Pdf
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.
Author : Christopher Noey,Thomas P. Campbell Publisher : Metropolitan Museum of Art Page : 274 pages File Size : 53,6 Mb Release : 2017-09-19 Category : Art ISBN : 9780714873541
The Artist Project by Christopher Noey,Thomas P. Campbell Pdf
Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.
Author : Claude Monet Publisher : Random House Value Publishing Page : 56 pages File Size : 41,5 Mb Release : 1992 Category : Art ISBN : PSU:000020447663
Monet and the Waterlily Friends is a picture book that introduces readers to the colorful world of art. The book has three sections: The first section is a story in strictly images for non-readers to enjoy. The second section serves as a mini art history lesson about Monet and Impressionism. The third section is a collection of art activities that can be done at home or in the classroom.
Claude Monet is one of the most famous painters in history, and he is considered a pioneer of the Impressionist movement. What is Impressionism, and how does Monet's work reflect its purest principles? Readers discover the answers to these and other questions about Monet's life and work as they examine the stories behind some of his most beloved paintings. Colorful examples of his work and photographs from his life fill the pages, alongside annotated quotes from art historians, other artists, and Monet himself. Detailed sidebars appeal to young artists and provide more fascinating details about Monet's life.
Acclaimed historian Ross King paints the most nuanced, riveting and humane portrait yet of Claude Monet, arguably the most famous artist of the 20th century. We have all seen—live, in photographs, on postcards—some of Claude Monet's legendary water lily paintings. They are in museums all over the world, and are among the most admired paintings of our time. Yet nobody knows the extraordinarily dramatic story behind their creation. Telling that story is the brilliant historian, Ross King—and in the process, he presents a compelling and original portrait of perhaps the most beloved artist in history. As World War I exploded within hearing distance of his house at Giverny, Monet was facing his own personal crucible. In 1911, his adored wife, Alice, had died, plunging him into deep mourning at age 71. A year later he began going blind. Then, his eldest son, Jean, fell ill and died of syphilis, and his other son was sent to the front to fight for France. Within months, a violent storm destroyed much of the garden that had been his inspiration for some 20 years. At the same time, his reputation was under attack, as a new generation of artists, led by Pablo Picasso and Henri Matisse, were dazzling the art world and expressing disgust with Impressionism. Against all this, fighting his own self-doubt, depression and age, Monet found the wherewithal to construct a massive new studio, 70 feet long and 50 feet high, to accommodate the gigantic canvases that would, he hoped, revive him. Using letters, memoirs and other sources not employed by other biographers, and focusing on this remarkable period in the artist's life, Ross King reveals a more complex, more human, more intimate Claude Monet than has ever been portrayed, and firmly places his water lily project among the greatest achievements in the history of art.
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.
A vividly rendered portrait of both the rise of Impressionism and of Monet, the artist at the center of the movement. It is, above all, a love story of the highest romantic order.