Friday, 15 November 2013

Painting of Modern Life Week Three


Manet Monet Painting on His Studio Boat, 1874 Oil on canvas, 82.7 x 105.0 cm Neue Pinakothek, Munich

Suburban leisure and the new painting
La Grenouillère, Argenteuil

Images pinned here http://www.pinterest.com/peterjquinn/impressionist/



“It is said to be a very rustic meeting- place for a very frivolous society, and that if one goes there alone, one returns in the company of at least one other person.” Berthe Morisot’s mother 1868.
Monet to Frédéric Bazille: "I do have a dream, a painting, the baths of 'La Grenouillère' for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting." September 25, 1869.
TJ Clark: “To what extent does Monet’s oil painting borrow its vitality from the illustration, or is its purpose somehow to contradict such a quality, or at least its generalising force?" p.160-1

“In the final analysis, it is not true nature that they have looked at and strive to render, but rather the nature one glimpses on escapades in the great city or its surroundings, where the harsh notes of the houses, with their white, red or yellow walls and their green shutters, get mixed up with the vegetation of the trees and form violent contrasts with it. How much better have the Dutch painters and our modern landscapists, the Rousseaus, the Corots and the Daubignys, understood how to express not only the true poetry but also the truth of nature!...” Charles Bigot, art critic on the 1877 show.

John House points out (p73-5) that landscapes shown at the Salon in the mid-70s by other artists were generally of unspoiled deep countryside. His eg is Charles Busson (1822-1908) Impressionism: Paint and Politics 2004 Yale University Press

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