Many exciting details can be found in the ‘Meadow scene’. Let us continue our exploration tour and try to put it into connection with some other paintings:

1. ‘Camille on the beach’, 1870, 63x48, (W 161), now in the Marmottan Museum in Paris. This painting is a typical ‘pochade’, just like ours, painted rapidly, maybe during one or two hours. Monet kept it during his lifetime in his atelier. It is not signed. The two paintings are built up in the same way. The horizon is very much the same. The speedy brush strokes are the same. Look at the shadow on the back of their arms. The brown hat bands. The brush strokes around their heads.

See the mixed blue colours on her ‘shadow side’. (It is interesting to bear in mind that when Claude Monet was busy working with these two paintings, he kicked a hole in one of them out of dissatisfaction!).

3. We have already studied the outline-drawing and Monet´s outstanding way of laying out the composition. (Suzanne in the garden ”To lay out the compositions was the envy of his friends”).

   Looking at the Claude Monet ’Self-portrait’ from 1886, (Wildenstein 1078), we certainly recognize exactly the same kind of red parallell outline brushstrokes as in our Meadow-scene.

   Here it is easier to see the same parallel outline brushstrokes.

   The outline of the beret is drawn in the same colour but with a single, more powerful, broad brush stroke. Exactly the same as in the ‘Meadow scene’ – look at the single, powerful outline stroke of the dress at the bottom left.

   Look at the collar of Monet the white shirt is light greyish-blue the same colour is found in the blouse. Both paintings are left unfinished. Compare also the ’black’ brush-stroke at Monet´s right arm. Both paintings are left unfinished and unsigned.

   Click HERE for coloured shadow comparison.