Claude Monet (1840-1926) automatic translate
November 14, 1840 in Paris, in the family of the owner of a grocery store, a son was born, named Oscar Claude Monet. In just five years the whole family of the future artist moved to Normandy, Le Havre. Since 14 years, Monet began to earn money and fame, drawing cartoons. Here, in Le Havre, the young man got acquainted with the landscape painter and original Eugene Boudin, who worked in a very strange manner for that time - he created his paintings not in the studio, but directly in the open air.
Monet quickly realized the advantages of Buden’s method - the immediacy and vividness of the transfer of nature on canvas. Since then, that is, since about 1856, the artist also began to write in the open air. Even then, Claude Monet decided for himself that he would devote his life to painting, despite the fact that his father had his own opinion on this matter.
Determining his mission, Monet moves to Paris, where in 1859 he entered the Academy of Suisse. There he meets the realist Gustave Courbet, the great romanticist Eugene Delacroix and the impressionist Camille Pissarro. True, just a year later, the artist was sent to Algeria for military service, but he early returned to Le Havre for health reasons, and from there immediately moved back to Paris.
Creative experiments and a passion for lighting effects
The fatal for Monet was the arrival in the studio of the then famous painter Charles Gdeir, in 1862. It is there that he meets his future friends - Auguste Renoir, Alfred Sisley and Frederick Basile, with whom he will begin the movement of the Impressionists. The search for new ways in art became the goal and the main entertainment of the whole company.
Three years later, Monet wrote the canvas «Breakfast on the Grass,» inspired by the scandalous work of Edouard Manet under the same title. However, Monet did not intend to shock the public with the image of real naked characters, as Manet did. The young artist was just looking for his style. Already at this time he began to neglect the line and modeled all forms with the help of color spots. Painter, even in Normandy, addicted to writing in nature, most of all interested in the effects of natural light. Working on the forest edge gave the young artist the opportunity to observe how the sun’s rays pass through the leaves and fall on different surfaces, the color of which changes immediately, thanks to these reflexes and the glare of the foliage.
As a model for female characters at work, Monet used his beloved Camille Donsier, and the male characters of the painting were written from Frederic Basile. This company, located for breakfast in the bosom of nature, is busy only with their conversation and does not contact the viewer in any way. The artist appears here, as if an unnoticed observer, gentlemen and ladies do not pose for him. We can only admire the folds of the dresses of ladies turned back to us. The face of the sitting young man, located in the lower right corner of the picture, is also turned away from the viewer. Monet follows his own laws, he does not engage in a clear alignment of the composition, like a theatrical mise-en-scene. Breaking the tradition according to which the image in the foreground of the character turned back to the spectator with his back was simply impossible, the artist creates his own unconstrained aesthetics, free from prejudice. Unfortunately, the picture did not survive in its entirety, but her sketches aroused great interest of many young artists. In the Moscow Museum of the Name of AS. Pushkin is one of the variants of the work, created in 1886.
Another example of a departure from classical painting can serve as a picture of «Ladies in the Garden» (1866, the Musee d’Orsay, Paris), whose layout, with the circumcision of women’s dresses, would not allow himself any paintings of an academic nature. And Monet was not afraid to freely frame the image, creating the impression of fragmentation, similar to the effect of a photograph.
On the canvas we see a typical genre scene, the semantic center of which is shifted to the left. The deviation from traditions is expressed here in the fact that ladies who rest in the shade of trees become an integral part of the blooming landscape, serving as its decoration, like beautiful flowers. Female figures seem to merge with the landscape, their dresses adapt with the background of the shadows cast on them by tree trunks.
The painter is interested not so much in the transfer of the individuality of young women, their outfits or occupations, as in the transfer of the play of light and the harmony of the relationship between nature and man. To judge how insignificant for the artist were the ladies themselves, it is possible by the obvious fact that all four young ladies are written from one model - all the same Camille. The artist tried to veil this by showing us the face of just one lady sitting on the grass. The figure on the left is shown in the profile, the lady next to her covers her face with a bouquet, and the fourth heroine, stretching her hand to the flowering bushes, is completely turned away from the viewer.
In the same year, one of the most famous paintings by Claude Monet in the 1860s - «Woman in a Green Dress» (1866, Kunsthile, Bremen, Germany) was painted. On the canvas, we again see Camilla Donsier. The painter works in a realistic manner, he uses a dark background, on which the sun-drenched face and the hand of the young girl are vividly highlighted.
The sharp contrast of the illuminated and shaded areas resembles the chiaroscuro of Caravaggio. The image is lyrical and at the same time very intimate, it is not intended for general viewing: the master turns Camille almost back to the observer, the model itself does not look for spectacular poses, leaving us only an opportunity to examine the hem of her dress and the coat overtaken on top of him. The work was positively received by critics and spectators, which brought the young Monet fame.
A year later, Monet painted a picture with a very similar theme. One gets the impression that a woman in a light white garment on the canvas «Lady in the Garden» (1867, the State Hermitage, St. Petersburg) needs the artist only as an excuse to materialize the animation of nature, to give her a state of habitation. The lady is again practically turned to the viewer’s back, and the artist is only interested in the beauty of the midday landscape with its bright colors and long shadows.
The center of the composition of the painting is a round flowerbed with red flowers, on which a tree stands. The depicted woman, who, in theory, is the semantic center of the work, is placed next to the very edge of the picture. The lady is the extreme left point with which the compositional diagonal of the work begins, supported further by a tree in the flower bed and another tree depicted to the right. The rhythm of the composition is given by the verticals of the female figure and both trees, and by the narrow shadows cast by them on the green grass.
In 1867, Camille Donsier, gave birth to the artist’s son Jean, and a little later became his wife. In the same year, the painting «Jean Monet in the Cradle» (private collection) is written. Here, unlike many of the author’s paintings, the center of the composition is clearly marked, it is a decorated cradle with a canopy hanging over the headboard. At the crib we see the mother - it makes the picture similar to the popular genre scenes in Dutch painting. However, Camille’s right shoulder and back are cut off by the edge of the picture, indicating the importance of another character in the work - a blanket-covered son.
The genre of a still-life was not in Monet’s favor, but, nevertheless, he addressed him from time to time. The painting «Still Life with Fruits and Grapes» (1867, private collection) is distinguished by a smoother writing style than the landscape works of the master. A deaf dark background is rarely found in the canvas of Monet, but on it, ripe, even slightly overripe fruits look particularly lively and believable. In this work of the artist as always, most of all, the nature and effects of light are of interest.
But the flowers, passionately loved by their painter preferred to write in nature. The image of cut flowers was a rare exception, as exemplified by the canvas «Flowers and Fruit» (1869, Paul Getty Museum, Los Angeles, California). Here the master originally used a dark background, but subsequently refused it. After building a still life, Monet easily cuts a good half of the wicker basket, fruit on the table and sunflower petals, which also violates all the canons of academic painting, whose vocation has always been considered the image of the object from its best side.
At the beginning of his career, Claude Monet suffered brutally from financial difficulties, which nearly drove him to suicide. In the 1860’s the poor material position of the artist forced him to constantly move from one place to another. Since 1869, Monet settled in the Parisian suburb of Bougival. To him here often came Auguste Renoir, together they worked much in nature, imprinting the same species and developing their own techniques of painting.
Friends peered into the face of nature, noticed even minor changes in lighting and air movement, which interested them the most. The desire to capture instant states of constantly changing nature, living by its own laws, united young artists. They closely watched how the same landscapes are transformed depending on the time of day, atmospheric conditions and the nature of the illumination: shadows are lengthening and thickening, sunlight is playing on leaves and water, ripples are formed on the smooth surface of the river.
In 1869, artists paint their famous paintings of the same name with a view of the cafe on the Seine near Bougival and the bathing place near it. The paintings were called «Froggy» (Metropolitan Museum, New York). In his version of the work, Monet practiced the individual technique of writing, a new style of smearing, which makes it possible to quickly transfer to the canvas the sensations from what he saw, which critics considered extremely careless. Indeed, from the point of view of the salon painter, the canvas gives the impression of an unfinished, sketchy sketch in which objects are only indicated, and quite roughly. There is no idealization, characteristic of academic art. But Monet quite deliberately avoided this. The artist has always written what he saw at the moment, trying to «catch» frozen for just a moment of changeable reality, and for this task he needed a fast technique.
Like most Impressionists, Monet wrote in pure color, without resorting to mixing colors on the palette. He avoided the shades and halftones adopted in traditional painting. Instead, the artist densely applied the smears of certain colors to the canvas, and in combination, they gave different perceptions to the perception of the human eye. The idea of such a painting was based on the discoveries of the French physicist Eugene Chevrel in the field of optics. In particular, it was established that the color of objects is not some kind of objective reality, but strongly depends on the light whose rays are reflected from them. This served as a justification for the complete rejection of impressionists from black and the creation of «colored» glare and shadows on the light surfaces of their canvases.
The painting «Terrace in St. Andrews» (1867, Metropolitan Museum, New York) is distinguished by the lack of a perspective construction of space common to European art. Because of this, it seems that the sea hangs over the sun terrace. The idea to try to give up the perspective of Monet was given to the traditional Japanese painting that has become popular in Europe. In the foreground of the picture there is a blooming terrace, on which people walk or simply rest, sitting in wicker chairs, ladies and gentlemen hiding from the hot summer sun under a canopy or umbrellas.
Bright flowers will repeatedly appear on the canvas of Monet, becoming, in the end, an independent motive in his later work. In the background there is a sea, numerous sailboats on which accent the horizon line. The sailboat depicted near the terrace serves as an important guide for the eyes. Without it, the first and second plans of the picture would look too fragmented, which would lead to the disintegration of the composition into two independent and unrelated parts. A few foreigners look clear vertical pillars, arguing with the horizontal construction of the composition. But this is only a superficial impression, in fact, it is they who «collect» all the work, accentuating the viewer’s attention on its central part.
With the outbreak of the Franco-Prussian War in 1870, Monet went to London, where in the same year he married Camille. In London, the artist continues to meet friends and like-minded people and writes city views together with Camille Pissarro.
Individuality of style
Two years later, the artist creates his famous work «Impression. Sunrise «(1872, Museum of Marmottan-Monet, Paris). In it the painter did not try to reproduce reality, did not try to imitate nature, but only conveyed his personal impression of her beauty.
The figures of the people in the picture are again barely outlined, which was unusual for the viewer, accustomed to the academic style of writing. But the color relationship of pure radiant water and sunrise, manifested in bright reflexes on the surface of the sea, is transmitted magnificently.
This work the artist presented at the first exhibition of the Impressionists, held in 1874. Then, Monet and his comrades still called themselves «Anonymous Society of Artists, Painters and Engravers». The picture received sharply negative reviews from critics and viewers, and its name («Impression») gave rise to an ironic at that time definition of a new direction of painting - Impressionism. The exhibition received fame only for its deafening failure.
H will return in 1872, when Monet and his family moved to the town of Argenteuil, near Paris. Here again friends came to him - Sisley, Edouard Manet and Renoir. The artist’s paintings were still not sold, but the inheritance he inherited from his father could raise the material well-being of his family a little. Here, in Argenteuil, Monet arranged himself a «floating workshop.» He traveled in a boat across the Seine, freely capturing the views he liked, and continuing to study the effects of lighting through the reflexes of the sun’s rays on the water.
In 1873, Monet creates a picture of the «Field of Poppies at Argenteuil» (Musee d’Orsay, Paris), depicting Camilla and the little Jean Monet drowning in the field grass. Diagonal composition of the composition creates a sense of movement. In the foreground and background, two pairs of mothers and children are shown, which are located on a diagonal supported by a barely noticeable path, underlined only by a strip of poppies. Both pairs are written from the same models. The work perfectly demonstrates the skillful alignment of the composition with the help of color.
In the same year, the canvas «Boulevard of the Capuchins» (1873, the Pushkin Museum of Fine Arts, Moscow) is written, in which the influence of the art of photography is clearly felt. A picture that conveys a moment from the life of the city boulevard filled with passers-by and crews resembles a snapshot. People in it play only a secondary role, and the main one is assigned to the atmosphere of the contemporary artist of the city.
The obvious influence of the photo is also evident in the composition of the painting «St. Denis Street on National Day» (1878, Art Museum, Rouen). The rhythm of the composition is set in blue-white-red strokes of many national banners, exposed, like bayonets, from balconies and window openings of houses. The work, like a reportage, captures the life of the city during the holiday.
And the artist is not interested in celebrating people at all. Unlike Delacroix and his work «Freedom on the Barricades,» Monet did not begin to portray the band in a spectacular production. The artist needed the city itself, its face and atmosphere, which reigns on a festive day. The streets are inhabited only by staggering figures - outlined dark silhouettes, suppressed by stone walls.
But the most favorite models for the artist remained his adored wife and a young son. Brushes Monet belongs to a remarkable work «Camille Monet with his son Jean» (alternative name «Lady with an umbrella», 1875, National Gallery of Art, Washington). Despite the static poses of the heroes, the picture is full of movement: clouds are sweeping across the sky, and a light dress and a veil on the hat of a young woman are developing in the wind.
A vivid example of the influence of Oriental art on the artist’s work can serve as his famous for the whole world picture «Japanese woman» (1876, Museum of Fine Arts, Boston). On it, Camilla, dressed in a bright red kimono, stands against the gray wall adorned with Japanese paper fans. The work is extremely decorative, traditional Japanese apparel completely hides the outlines of the woman’s body, and the composition is completely devoid of depth and comes close to a flat pattern. As always, Monet avoids precise contours of objects: the figure of his wife, Japanese, depicted on the cloth of a kimono and fans on the wall behind the woman, are written more in color than in a line, which creates an additional impression of flatness of work. An interesting point of the composite solutions that shape the Japanese kimono and the heroine herself picture deployed in opposite sides, balancing each other.
The most important place of contemporary artists of Paris had Gare Saint-Lazare. He spent several master canvas, painted in 1877. Station did the fate of people, linking the French capital with other cities and even countries. There is always bubbling with life: passengers arriving and leaving, buzzed locomotives compositions picks up speed and were carried away into the distance.
That is the exciting atmosphere of the new industrial life and sought to show the artist in his paintings. «Gare Saint-Lazare. Arriving by train «(1877, Fogg Art Museum, Harvard) perfectly reflects the daily life of the station. The product used practically monochrome painting selected unusual angle perfectly transmits particular solutions architectural arch station.
Soon, in the artist’s family, there were two important events for him: in 1878, beloved wife gives birth to a second son - Michel, then Camilla herself seriously ill. Monet again experiencing severe financial difficulties. Neither the public nor the critics have not «matured» to the correct perception of his style in art. The painter was forced to leave and settle in Argenteuil vetheuil, where his neighbor became a merchant Ernest Goshede and his wife Alice, who later was to become the second wife of the painter.
His impressions of moving the artist conveyed in the film «Road to vetheuil winter» (1879, Museum of Art, Gothenburg), where he portrayed the typical French winter landscape: a dirt road, covered with snow, the hills with the show through the soft snow reddish-brown soil and frozen green grass, church, two-storey houses, built in the gentle slopes of the hills on both sides of the road. Only the figures of two little travelers enliven the landscape.
Painting «On the banks of the Seine near vetheuil» (1880, National Gallery, Washington), written in the summer of next year at the same time simple and lyrical. The entire front picture plan occupy blooming meadow grass, behind which you can see the glassy surface of the river. The artist masterfully conveyed reflected in the river the sky with clouds floating by and the trees standing on the opposite bank. Coastal bushes and trees outside forests in the third of the picture as though enveloped in a bluish-gray haze, obscuring them from the gray clouds.
Unusually bright and sunny landscape on canvas «Apple Trees in Blossom» (1879, Museum of Fine Arts, Budapest) impresses studio light transmission - depicted the landscape as if bathed in sunlight, fill all the surrounding space.
composition of the painting again is very simple, in the foreground painted flowering trees apple trees and grass under them, in the second we see half-hidden behind the trees the branches of houses with red roofs, and the background is occupied towering hill. A few apple trees, rests against the bottom edge of the product, serve as a right wing and a single vertical line on the horizontal compositions, like «collecting» all the work.
Also in 1879, at the age of thirty-two years, from a serious illness died beloved wife Mona. The artist, overwhelmed with grief, wrote her portrait «Camille on his deathbed,» in which he portrayed his wife in his own manner, stressing color as her face becomes vital dye.
The long-awaited success
Paradoxically, it is in this year’s heavy losses in the personal life of the artist professional success comes. The Parisian press there were positive reviews and comments, dedicated to his exhibition of works that were sold immediately. This has improved the financial situation of the painter.
In 1883, it will remove a small, but very cozy house in Giverny near Paris, next to which splits a magnificent garden, verified as the paintings of taking into account individual of color and time of flowering of each plant. Later, Monet buys additional land next to the house, to create her one more stunning garden, which was also a pond with water lilies and Japanese footbridge leading to it winding paths. This place will be the subject of his paintings until his death, along with the idea of creating a plurality of separate series of works in which the artist realized his long-term study of the visual color capabilities in the transmission of different lighting. In this series of works the artist clearly shows how changing one and the same motif, depending on how it is illuminated. I must say, all the series enjoyed great success with the public.
Simple rural view of the painting «Haystack at Giverny» (1886, The State Hermitage, Saint Petersburg) became one of the favorite themes of the artist. Landscape, compositional center of which was standing in the foreground haystack, supplemented seen in the distance beyond the fields houses and trees.
In 1888, Monet will create a series of 25 studies of this kind. Moreover, the landscape on the canvases will become more conditional division of composite designs virtually disappear, and Haystack will gain an independent role, as if concentrating in itself a conceptual center of existence. However, the main role in all the paintings given to color, tending to convey the whole range of changeable light. During the day, the artist has worked on several canvases that convey different states of light: morning, afternoon and evening - this was the original artist of the method, which underlies another series - «Poplars.» Mirror symmetry, built on the principle that the composition works of «Poplars on the Epte» (1891god, National Gallery of Scotland, Edinburgh) presents the viewer two realities: the present poplar grove on the banks of the river and its reflection in the mirrored surface of the water, only slightly dimply. The river completely absorbs all the colors, which are full of trees and sky with floating by pinkish clouds. Quivering water surface highlighted character strokes painter.
The largest series devoted to Rouen Cathedral, Claude Monet was launched in 1892. In two years, the artist executed 50 paintings, which has consistently portrayed the Gothic facade of the cathedral at different times of the day: from early morning until late evening. Sunlight creates a stunning metamorphosis, not only with the color of the cathedral, but also with its stone essence. Wall stood for centuries, thanks to fill it with light and openwork Gothic architecture seems almost weightless and miraculous. The sun’s rays seem to dissolve the stone cathedral power, penetrating it with a different intensity.
Thanks to the skill of the brush Monet cathedral if ceases to be a material substance, and becomes airy and ephemeral. He seemed to cease to be a creature of the earth and merges with the sky. Is this what the architects sought to effect the distant Middle Ages, raising to heaven lace stone walls of the church? Perhaps Monet penetrated into the heart of the conceptual ideas of Gothic art. Cycle «Rouen Cathedral» has been exposed by the artist in 1895 and enjoyed great success.
Simultaneously with the start of work on a cycle, Klod Mone marries Alice Goshede. Painter begins to travel a lot, it works in Italy, Gothic cathedrals which is incredible impressionist, Normandy, Holland and Switzerland.
In Normandy, the master born gorgeous seascapes, such as the painting «Mannport» (1883, Metropolitan Museum, New York), if extols the greatness of water. Also, the artist often worked on the image of the beautiful rocks near the town of Egret, which were the main attraction of the area, due to its unique shape created by the whim of the waves.
Mannport, perhaps the most famous rock-arch. To transmit the scale of the rock formation, the painter briefly outlines a few strokes a couple of figures under the arches of stone arches, which mass, powerful serving from the left edge of the picture, literally ready to crush them. Creating the impression facilitates operation and composition: stone surface effect infinity artist underlined that the whole rock does not fit in the frame picture.
A riot of color and pointlessness
Expressive ability of color throughout the creative path of the artist was the main tool of his artistic language. Klod Mone stayed true to himself to the end, never turning from the path, and only improving and perfecting their expressive techniques of individual style. The only difference between the late period of his work was the desire for irrelevance, blurring the concept of a particular subject and form. One of his best creations of the artist is not considered a picture, and he created a garden at the house in Giverny, where he was picked up and dropped numerous species and varieties of flowers so that the garden has bloomed constantly, delighting the eye of the painter variety of shades. Beautiful garden, in fact, also a work of art, has become a favorite subject of the master’s paintings, is on the canvas their innumerable reflections.
Painting «Garden at Giverny irises» (1899, Yale University Art Gallery) again shows us a very simple composition. On the canvas, square format shows the path runs into the depths of the garden, Semi-concealed overgrown bushes, irises, and above it are visible trunks of garden trees, which create long term.
The artist puts on the canvas like a jubilant, pure, bright colors, passing the audience his sense of happiness and fullness of life, which is born of contact with nature. Beautiful and delicate flowers irises in the foreground works like stare us in the face. Skillful hand of the master if they breathe in the soul, and the beauty of the surrounding nature becomes the greatest miracle, the personification of the crown of God’s creation. It is this attitude towards nature, which is in the works of Claude Monet’s painting somodostatochnym object, distinguishes the artist from the adherents of the academic style, in which the «crown of creation» has always been only a person.
One of the most famous series of Monet’s «Water Lilies» was launched in 1899. On a series of works the painter depicts water lilies (nenyufary) floating in a pond in his garden at Giverny. The artist himself has cultivated the delicate flowers in a pond and had long admired them, enjoying the sun glare on the delicate petals and reflection of clouds in water. It seems incredible, but the lilies possessed the heart of a talented artist until his death, some twenty years. Batch jobs based on a variation of this motif in a variety of lighting conditions.
Established in 1903, the work «Water Lilies. Cloud «(private collection) produces amazingly joyful impression. The cloth is saturated with sunlight, despite the fact that the sky is present here only in its reflection in the water. It seems like lilies and clouds slowly float on one surface, as if driven by a slight breath of air.
The square shape of the canvas in «pond with water lilies» (1908, private collection, St. Gallen, Switzerland) visually as it zooms through space, creating the impression of infinity. Monet used the photo effect, as if cut out of the water surface of the pond of separate fragments, and wrote him a close-up. only the surface of the water spilled into the frame with leaves and flowers of water lilies and reflection of clouds, picturesquely scattered on its surface.
Here the artist again moved away from long-term construction of the painting, which is why water lilies, located in the upper right corner of the composition are closer to the viewer than the plants of the front picture of the plan. This technique picture loses depth and as it takes place on the plane to become more decorative.
Starting from the 1870s, Klod Mone has visited England, he loved London for its unique hazy atmosphere. But about 1900 the painter begins more often come here. He creates here a series of works devoted to the parliament building.
Painting «Houses of Parliament in London» (1904, Musee d’Orsay, Paris) shows an architectural object as if enveloped in a thick fog. Only in some places yellow ginger sun breaks through Dumka, highlighting fragments of majestic shape neo-Gothic architecture and painting the broad Thames reddish-purple highlights. The painting style is very conditional, the artist depicts not specific elements, and a momentary image of the city, such as he had just seen.
Impressionism Monet is not intended to convey an objective reality, he does not recognize the object permanence qualities. All of their shape, color and contours depend only on the light, it hardly breaks down, then flood the whole neighborhood, and even the fading, passing in the twilight. In the spring of 1908 Klod Mone and his family went to Venice. A delightful atmosphere of this city, its water expanses, surprisingly well Beaten Venetian architects, light reflections on the water and reflected in its monuments, the painter conquered. Thus was born the series of Venetian landscapes painted directly while traveling.
Written in the same product of the «Palazzo da Mula in Venice» (1908, National Gallery, Washington) is hardly a lead or architectural landscape. Rather, it is, figuratively speaking, a «portrait» of the medieval Venetian building, «looking» in the channel mirror in front of him. Moreover, written by the «portrait» of a close-up, cut off the sides of the palace picture frame, the canvas has got only the middle part of the building without a roof.
This unusual composition can be easily explained, Monet had no intention to copy the architectural monument, it was for him as unimportant as the figures of people in most of his paintings. Captivated the artist’s surprisingly harmonious unity of architecture and landscape, designed by the brilliant architect, conceived the palace, as if coming out of the water. Horizontal composition with a clear division of the front (water space) and a rear (wall Palazzo, covered with multiple arches door and window openings) plans balanced pair of thin silhouettes gondolas.
Venice was struck by the unity of the artist’s life of buildings and canals, on the banks of which they are built. Impressionistic harmony, reflected in the water formed by stone walls, which are the same water absorbs sunlight, stains the many highlights of celestial hues, won the heart of the painter. It is a state he tried to convey to his Venetian paintings.
Loneliness and loss
The second decade of the new century was marked by a succession of losses for the artist. In 1911, his second wife Alice died, three years later, in 1914 - died, his eldest son, Jean. For Monet faithfully nursed only daughter Alice from his first marriage, his ex-wife, Jean.
Together with a series of deaths of loved ones, the painter has befallen another misfortune - a double cataract. Doom has selected the artist thing, which he dedicated his entire life - the opportunity to see and study the effects of light, glare and reflections of sunlight, seen in the wild. However, Monet did not stop, he continued to create their work. Four years later, after he delivered the diagnosis, the artist conceives a new series of impressive panels measuring 2x4 meters with pictures of his garden.
Panel «Water Lilies» ( «Nenyufary» 1920-1926 years, Greenhouses Museum, Paris) gives the impression of flatness of infinite space, as if arising far beyond the picture frame. Juicy, large master strokes only outlines the shape of leaves and flowers, the whole picture is made in the technique of color patches.
A little earlier, in 1917, Klod Mone wrote his «Self-portrait» (Musee de l’Orangerie, Paris). The painting is a human self-esteem, reproduced through the reflection in the mirror of his own consciousness. Tired eyes masters do not look at the audience, although it is deployed to it full-face. The artist is not looking for a «dialogue». At first glance, the work seems unfinished: shows only the head of the artist, and the shoulder line is scheduled schematically. However, dense shade, bordering portrait, the image fills drama and leaves no doubt as to its completeness.
At the end of his career, Monet began to mix the objective and non-figurative art. In his work in 1918, «Japanese Bridge» (Institute of Arts, Minneapolis) can read only the outlines of the beloved artist’s bridge, entwined wisteria and spanned across the pond with water lilies, a low bush in the foreground but the tree at the right edge of the canvas. Everything else - the only extravagant riot of color, beauty and fullness of life.
Painting «Garden with a pond in Giverny» (about 1920, the Museum of Fine Arts, Grenoble) presents us with a mysterious corner of the garden of the artist hidden in dense thickets. The work, of course, subject: is clearly visible constructed composition, clearly distinguishable outlines of branches. It seems that the color plays an independent, he emphasized decorative painter in the breaking of Dying. Due to unrealistic conventional color reproduction, the picture makes a dramatic impression. Color unusually expressive. This is not a pure impressionism, writing technique and artistic conception are more a reflection of the inner world of human aging.
The great artist, one of the founders of Impressionism, to conquer the world, Klod Mone died in December 1926 at his home in Giverny. Cezanne at the time said: «Monet - it’s just the eyes, but, my God, but what!». Painting by French artist - this endless enthusiastic reverence for nature, beauty and perfection of which he was able to transfer to a special, unique, delicate and sensuous style.