The River Scene Contact Information Claude Monet

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More connections to Monet's paintings

  1. Just like our ‘Meadow scene’ the next painting is a Pochade or Esquisse: ‘Le Promenade’, 1886, (W.1075), 102x75 cm. Unsigned, though stamped with the signature, which means that it stayed in Monet’s atelier until his death. He certainly did not consider it as finished. It was most probably kept only because of the motif – a family portrait. We also recognise it in some photos from the atelier. Suzanne is the figure in the centre, (second from the left). Her long hair is blowing in the wind. We feel very much acquainted with the palette from all our three paintings. We could also call this a ‘Snap shot’. It is left in a more unfinished state than the ‘Meadow scene’. Perhaps Monet spent just as long time on both of them?


  1. Our ’Meadow-scene’ is more detailed and feels more sensitive. Let us go further and study some details being important for the composition:



    Camille in the garden with Jean

    1.  The circle of the hat plays an important part in the picture. The hat is painted like a shield, creating distance to the spectator and giving a 3D- effect to the subject. Please compare the circle of the hoop hold by the nursemaid in ‘Camille in the garden with Jean’; 1873, (W 280), look how she holds it in front of her, it gives the same 3D-feeling as the hat, (and here we furthermore have the ‘looking-through-effect’). The parasol is as we know one of Monet´s most beloved subjects creating depth and a stop for our eyes.

      Wheat-stacks, (End of Summer)


    2. The variegation of the meadow, divided into fields of shadow and sun. This is very much like the sun and shadow effect in the painting ‘Wheat-stacks, (End of Summer)’, 1890-91, (W 1269).

  1. Le Signal’, (‘Track Signals outside Saint-Lazare Station’), 1877, (W448), 65x81, Niedersächsisches Landesmuseum, Hanover. This painting is of great interest for us of two reasons. We just mentioned one of them: the Hat painted like a shield/circle/disc. Here it is again, the circle, sucking our eyes, giving the same 3D-effect. Here we also have the same kind of feverish, hasty brush work. The most important circle in the ouevre of Claude Monet is the Sun – do not forget ‘Impression, Soleil levant’. (Here we certainly can talk of the 3D-effect, though we mainly have it in our minds. Monet was fully aware of this, and this is also what ‘Impressionism’ is about!)

Before leaving Le Signal we must observe a most curious fact, concerning the preparation of the canvas. If we look at the upper part to the left of the upper signal, we can easily see the structure of the canvas. It is like a black was laid directly on the canvas. Can you see it? You can follow it along the upper part, out to the house on the left hand side. What is so interesting about this?

Click for detail comparison

You will get the answer if you turn back to our ‘River-scene’. Here the same black appears in the centre, ‘under the water’, between the girl and the landing-stage!! I have had the possibility to compare these paintings side by side in the Museum at Hanover and what I found was: it is exactly the same curious black underlayer! Is this what is known as "the turbid medium effect"? Perhaps somebody knows something about this - and can give an explanation? Do You? Please let me know! I am of course deeply grateful for all information – even if it should seem to be of little importance - it might be just that little missing piece in this huge jig-saw! Perhaps you have seen this black in other paintings by Monet?

Don’t hesitate – please send me an e-mail.

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