The River Scene Contact Information Claude Monet

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THE RIVER SCENE

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Impression of light

Le Parc Monceau’, 1878, (W 466), Metropolitan Museum of Art, New York, has many similar details in common with the ‘River Scene’ – the triangular foreground, the splashes from the sun on the ground, and the foliage, with the light from the sky breaking through. Please note, and compare, how the white patches of colour are laid on, duping us to see the light through the foliage.
 


Click HERE for comparative details of the impression of light through the foliage.

 


Click HERE for a sunsplash comparison.

See also how the front of the house is built up by small parallel strokes, and compare with the facade of the bridge.

Other examples where this technique of Monet is found are: ‘Un verger au Printemps’,1886, (W.1065), ‘Le Printemps’,1886, Fitzwilliam Museum, USA,(W.1066) and “La Débâcle”, 1880, (W.570). Or why not study ‘Poppy field near Giverny’, 1885, 65x81,(W 1000), Museum of Fine arts Boston – see how the red poppies cover the whole foreground and then the field narrows off into the scene. We recognise our parallel strokes strengthening the depth effect.


Un verger au Printemps

Poppy field near Giverny


Le Printemps

 

Click HERE for detail comparison of painting technique

At the Musée Marmottan, in Paris, a great collection of the works by Claude Monet is exhibited, given to the Museum by his son Michel Monet. One of the paintings in the collection is The Boat’, 146x133, (W 1154)


The River Scene

See a comparison between the two paintings HERE


The Boat

In his book ‘River of Light’, Douglas Skeggs writes: “The Boat shows the ‘Norvègienne’ tethered to the shore beneath a fringe of foliage. Viewed from above in the manner of a Japanese print, a solid wall of bottle green water fills the picture, pushing the little hull into the upper corner of the canvas and offering no horizon. The composition is top heavy, but there is nothing unusual about this.

Most of Monet’s paintings are designed this way; instead of placing the solid substance of the land beneath an open expanse of sky, Monet had always preferred to have it in the upper part of the canvas, with its image mirrored in the water below. The paintings of the churches at Vernon and Vétheuil, for example, all have the solid body of the buildings riding above the fluid surface of the river.”

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