From ab757e0c6d54d835a2b5e4ed018a33b97f6bd9f8 Mon Sep 17 00:00:00 2001 From: ColeyG Date: Fri, 11 Jun 2021 15:07:03 -0400 Subject: [PATCH] Build Deploy --- build2/artists-books/index.html | 424 ++--- build2/for-testing/index.html | 920 +++++----- build2/gauguin/index.html | 2310 ++++++++++++------------ build2/hub/index.html | 24 +- build2/iliazd/index.html | 324 ++-- build2/index.md.backup | 24 +- build2/la-prose/index.html | 314 ++-- build2/late-monet/index.html | 2922 +++++++++++++++---------------- build2/phase-2.backmd | 32 +- build2/salon-style/index.html | 124 +- 10 files changed, 3709 insertions(+), 3709 deletions(-) diff --git a/build2/artists-books/index.html b/build2/artists-books/index.html index 3b53c805f..1d14a486e 100644 --- a/build2/artists-books/index.html +++ b/build2/artists-books/index.html @@ -34,16 +34,16 @@ - - - - + + + + - - + + - + @@ -249,12 +249,12 @@

Alchemy on the Page

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The Development of an Art Form

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1900

Filippo Marinetti, Les mots en liberté futuristes (Futurist Words in Freedom), 1919 - + Toggle Caption
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1909

Hugo Ball reading at the Cabaret Voltaire, Zurich, 1916 - + Toggle Caption
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1916

Photomontage with René Magritte painting published in issue 12 of the journal La révolution Surréaliste, December 15, 1929 - + Toggle Caption
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1924

Dieter Roth, Collected Works, vol. 10, Daily Mirror - + Toggle Caption
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1960

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Communities of Artists and Writers

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In Paris, the early twentieth century was a time when artists of all disciplines frequented the same cafes and salons. Artists and poets had a strong affinity—eager to collaborate, they found the book to be an opportune medium. The extent of these creative partnerships, particularly in France but common also in Russia, may have been unprecedented. Work preserved in the Logan Collection captures the spirit and momentum of successive cultural movements created by artists and writers.

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1960

Amedeo Modigliani, Pablo Picasso, and poet André Salmon in front of the Café de la Rotonde, Paris, 1916. Photo by Jean Cocteau - + Toggle Caption
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Communities of Artists and Writers

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In Paris, the early twentieth century was a time when artists of all disciplines frequented the same cafes and salons. Artists and poets had a strong affinity—eager to collaborate, they found the book to be an opportune medium. The extent of these creative partnerships, particularly in France but common also in Russia, may have been unprecedented. Work preserved in the Logan Collection captures the spirit and momentum of successive cultural movements created by artists and writers.

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Communities of Artists and Writers

Daniel-Henry Kahnweiler in the studio of Picasso, 1907 - + Toggle Caption
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The Design of Absurdity

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Founded in 1916 in Zürich, Switzerland, by poets and artists who gathered at Cabaret Voltaire, the Dada movement quickly spread throughout Europe and to New York, only to be ultimately eclipsed by the advent of Surrealism. This lithographed poster advertising a series of Dada soirées in the Netherlands, visually captures the anarchic spirit of Dada.

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Kleine Dada-Soirée Programma (Small Dada Evening) poster by Kurt Schwitters and Theo van Doesburg, 1923 - + Toggle Caption
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The Design of Absurdity

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Founded in 1916 in Zürich, Switzerland, by poets and artists who gathered at Cabaret Voltaire, the Dada movement quickly spread throughout Europe and to New York, only to be ultimately eclipsed by the advent of Surrealism. This lithographed poster advertising a series of Dada soirées in the Netherlands, visually captures the anarchic spirit of Dada.

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The Design of Absurdity

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A Surrealist’s Tribute

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Twelve years after the death of Apollinaire, who had coined the term “surrealism” and whose verse frequently made reference to the sun and stars, his friend Giorgio de Chirico paid him homage with an illustrated edition of one of Apollinaire’s most adventurous books. The artist’s vision connects the sources of heavenly light with the modern phenomenal world. It was a highly original interpretation of the work of a poet who had an immeasurable impact on the artists of his time, yet who did not live to see his vision of Surrealism take root as perhaps the most far-ranging, pervasive art movement of the century.

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The Design of Absurdity

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The Fractured Mirror

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Picasso’s illustrations for Max Jacob’s poetic texts Saint Matorel and Le siège de Jérusalem are considered to be among his most important Cubist prints, created early in the history of the movement. One of Picasso’s first friends in Paris, the resolutely avant-garde Jacob, who was also a serious visual artist, was considered a “Cubist writer,” seeing his subject from multiple angles and in multiple states, much as the Cubists did visually.

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The Fractured Mirror

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By revealing the artist’s relationship to a literary work or art movement, an artist’s book can provide a deeper understanding of the artist than we otherwise might have.

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Artists’ books present a unique vantage point from which to gain insight into a succession of revolutionary movements, from Abstraction to Cubism to Futurism to Dadaism to Surrealism and beyond, and the positions of artists within those movements. Virtually every art movement from the beginning of the twentieth century up to now has produced its testaments in book art, a phenomenon that has escaped the notice of many art historians. The deeply hybrid nature of an artist’s book affords a wider context for understanding and appreciating the spirit of a particular time.

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By revealing the artist’s relationship to a literary work or art movement, an artist’s book can provide a deeper understanding of the artist than we otherwise might have.

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The Fractured Mirror

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A Surrealist’s Tribute

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Twelve years after the death of Apollinaire, who had coined the term “surrealism” and whose verse frequently made reference to the sun and stars, his friend Giorgio de Chirico paid him homage with an illustrated edition of one of Apollinaire’s most adventurous books. The artist’s vision connects the sources of heavenly light with the modern phenomenal world. It was a highly original interpretation of the work of a poet who had an immeasurable impact on the artists of his time, yet who did not live to see his vision of Surrealism take root as perhaps the most far-ranging, pervasive art movement of the century.

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A Surrealist’s Tribute

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- Guillaume Apollinaire’s Calligrammes, illustrated by Giorgio de Chirico, 1930 - + Zwei Reiter vor Rot (Two Riders before Red) (detail), from Klänge, by Wassily Kandinsky, 1913 + Toggle Caption
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The Birth of Abstraction

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With Klänge, Wassily Kandinsky was engaged in a quest to merge image and text in synergistic expression, here evoking sound (klänge) to effect a deeper resonance. The horse and rider image appearing throughout the book is Kandinsky’s symbol for the pathfinder, in this case finding a way beyond representation in art. The boldly experimental nature of this work, in both text and image, inspired the Dadaists and Futurists. Kandinsky was an “artist’s artist,” and Klänge, though commercially unsuccessful, was perhaps the most influential artist’s book of its time.

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Hugo Ball, Die Flucht aus der Zeit (Flight Out of Time), 1927

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A Surrealist’s Tribute

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The Fractured Mirror

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Picasso’s illustrations for Max Jacob’s poetic texts Saint Matorel and Le siège de Jérusalem are considered to be among his most important Cubist prints, created early in the history of the movement. One of Picasso’s first friends in Paris, the resolutely avant-garde Jacob, who was also a serious visual artist, was considered a “Cubist writer,” seeing his subject from multiple angles and in multiple states, much as the Cubists did visually.

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A Surrealist’s Tribute

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- Zwei Reiter vor Rot (Two Riders before Red) (detail), from Klänge, by Wassily Kandinsky, 1913 - + Saint Matorel by Max Jacob, illustrated by Picasso + Toggle Caption
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The Birth of Abstraction

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With Klänge, Wassily Kandinsky was engaged in a quest to merge image and text in synergistic expression, here evoking sound (klänge) to effect a deeper resonance. The horse and rider image appearing throughout the book is Kandinsky’s symbol for the pathfinder, in this case finding a way beyond representation in art. The boldly experimental nature of this work, in both text and image, inspired the Dadaists and Futurists. Kandinsky was an “artist’s artist,” and Klänge, though commercially unsuccessful, was perhaps the most influential artist’s book of its time.

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Hugo Ball, Die Flucht aus der Zeit (Flight Out of Time), 1927

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The Birth of Abstraction

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A Collage Narrative

The five volumes, as published, assigned each volume to elements and days of the week. Ernst created the series over three weeks in 1933 while visiting friends in Italy. The following year, the booklets appeared in an edition of 828 sets. - + Toggle Caption
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A Collage Narrative

There were 182 collages in all, with text only as titles and epigraphs on the title pages. This page spread is from volume 3, Tuesday, The Court of the Dragon. - + Toggle Caption
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A Collage Narrative


Another spread from vol. 3. The series title, Une semaine de bonté (A Week of Kindness), was an ironic allusion to a 1927 social welfare program of that title. - + Toggle Caption
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A Collage Narrative

Though Une semaine de bonté was originally planned as seven volumes, sales were disappointing, and the last volume conflated three days into one. Despite its poor commercial reception, the series has survived as an iconic work of serial collage. - + Toggle Caption
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A Collage Narrative

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André Breton, Les pas perdus, 1924 (Translation by Mark Polizzotti)

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Published the same year as his Surrealist Manifesto, in Les pas perdus Breton captured the insurgent, high-energy spirit of Surrealism in its earliest stages. “Those seeking a kind of cult pilgrimage to nowhere but the opposite of where one is,” writes critic and historian Mary Ann Caws, “would have found the ‘leave everything’ model alluring, even before—perhaps especially before—what one was leaving everything for had been clearly defined.”

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A Collage Narrative

Surrealist artists, Paris, 1933 (from left: Tristan Tzara, Paul Éluard, André Breton, Jean Arp, Salvador Dalí, Yves Tanguy, Max Ernst, René Crevel, Man Ray) - + Toggle Caption
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A Collage Narrative

First issue of La Révolution Surréaliste, December, 1924, edited by André Breton, with a back-cover ad for his Surrealist Manifesto (and the exemplary phrase “soluble fish”) - + Toggle Caption
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André Breton, Les pas perdus, 1924 (Translation by Mark Polizzotti)

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Published the same year as his Surrealist Manifesto, in Les pas perdus Breton captured the insurgent, high-energy spirit of Surrealism in its earliest stages. “Those seeking a kind of cult pilgrimage to nowhere but the opposite of where one is,” writes critic and historian Mary Ann Caws, “would have found the ‘leave everything’ model alluring, even before—perhaps especially before—what one was leaving everything for had been clearly defined.”

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Paging through a great artist’s book is an art-viewing experience like no other. Each opening is a revelation of form, sequence, and meaning.

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The experience of an artist’s book is intimate, tactile, and sequential. A gallery display can offer only a hint of that experience, but digital media can provide a partial solution by offering multiple page spreads, contextualizing material, and even representations of the entire contents of books online. Here is a sampling of pages from a few books in the Logan Collection.

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Paging through a great artist’s book is an art-viewing experience like no other. Each opening is a revelation of form, sequence, and meaning.

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Designing a Revolution

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Dlia Golosa is one of the great marriages of radical design and poetry. Designer El Lissitzky transformed Mayakovsky’s popular poems of revolution into typographic images, then created a book structure with tabbed icons so that any poem could be accessed directly.

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Designing a Revolution

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Designing a Revolution

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Dlia Golosa is one of the great marriages of radical design and poetry. Designer El Lissitzky transformed Mayakovsky’s popular poems of revolution into typographic images, then created a book structure with tabbed icons so that any poem could be accessed directly.

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Artists’ Books in Russia

Natalia Goncharova with “basic makeup for an actress of the Futurist theatre,” 1913 - + Toggle Caption
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Artists’ Books in Russia

Natalia Goncharova and her lifelong partner Mikhail Larionov were prominent in early avant-garde movements in Russia. Goncharova was a painter, writer, and illustrator. With Larionov, she emigrated to Paris in 1921, where she designed costumes and sets for the Ballet Russe and continued her fine art career.

Natalia Goncharova with artist Mikhail Larionov (left) and artist/publisher Ilia Zdanevitch, 1913 - + Toggle Caption
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Artists’ Books in Russia

The great majority of the Russian editions were printed on cheap paper and bound with staples, much like the zines of today—not intended to survive beyond the heat of the moment. Russians took the idea of the book to its limit: an art medium in itself, not merely a container for art.

Gorod: Stikhi, by Aleksandr Rubakin, illustrated by Natalia Goncharova, 1920 - + Toggle Caption
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Artists’ Books in Russia

Gorod: Stikhi’s cover featured a bold graphic design. Inside, the poems were written out by the poet rather than set in type. Many Russian Futurists felt that the most authentic way to present a poem was in the poet’s own handwriting.

Gorod: Stikhi, cover - + Toggle Caption
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Postwar France: Illumination

Pierre Reverdy and Pablo Picasso, Le chant des morts - + Toggle Caption
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Postwar France: Illumination

Picasso’s gestural figures create an emotional environment in keeping with Reverdy’s testimony to the suffering, death, hope, and determination that he had witnessed in wartime occupied France. - + Toggle Caption
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Postwar France: Illumination

This can also be seen as an artist’s depiction of a poet’s testament: “Not a notebook,” as critic Irene Small said of the book, “but a picture of a notebook.” This is the book’s opening text. - + Toggle Caption
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Postwar France: Illumination

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Postwar France: Illumination

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Contemporary Artists’ Books

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By the late twentieth century, the artist’s book had arrived in the mainstream. In the United States, artist’s book presses such as Gemini G. E. L. in Los Angeles, Universal Limited Art Editions in New York, and Arion Press in San Francisco were carrying forward the livre d’artiste tradition in editions with blue-chip artists. At the same time, community book arts centers emerged in New York, Minneapolis, Washington, and San Francisco to teach craft technique, and colleges and art schools began offering degrees in artist’s-book production.

In a time when, for many people, digital screens are replacing the traditional book for day-to-day reading, the artist’s book has become a kind of apotheosis of the book form, bringing reading into the realm of art—just as Vollard and Kahnweiler had intended back in Paris more than a century ago.

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Contemporary Artists’ Books

Paper conservator Allison Brewer with Departure of the Argonaut, by Alberto Savinio, a mythologized account of Savinio’s experiences in World War I, illustrated by Francesco Clemente - + Toggle Caption
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Contemporary Artists’ Books

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By the late twentieth century, the artist’s book had arrived in the mainstream. In the United States, artist’s book presses such as Gemini G. E. L. in Los Angeles, Universal Limited Art Editions in New York, and Arion Press in San Francisco were carrying forward the livre d’artiste tradition in editions with blue-chip artists. At the same time, community book arts centers emerged in New York, Minneapolis, Washington, and San Francisco to teach craft technique, and colleges and art schools began offering degrees in artist’s-book production.

In a time when, for many people, digital screens are replacing the traditional book for day-to-day reading, the artist’s book has become a kind of apotheosis of the book form, bringing reading into the realm of art—just as Vollard and Kahnweiler had intended back in Paris more than a century ago.

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Contemporary Artists’ Books

Francesco Clemente, Untitled in the book The Departure of the Argonaut by Alberto Savinio, translated by George Scrivani (New York and London: Petersburg Press, 1986), 1983–1986. Photo lithograph (double page) on cream Okavara 60 GSM mold made Kozo paper, sheet: 25 9/16 x 19 11/16 in. (65 x 50 cm); image: 25 9/16 x 39 3/8 in. (65 x 100 cm). Printed by Rolf Neumann and Staib and Mayer. Fine Arts Museums of San Francisco, Gift of The Reva and David Logan Foundation, 1998.40.26.48. © Francesco Clemente, Courtesy Petersburg Press / © 2019 Artists Rights Society (ARS), New York / SIAE, Rome - + Toggle Caption
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Contemporary Artists’ Books

At 52x40 inches when open, the book’s impact is stunning, immersive – like a private exhibition of paintings that come out of literature. - + Toggle Caption
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Contemporary Artists’ Books

Clemente’s art does more than illustrate the text, it virtually consumes it; yet Savinio’s text, in a translation by George Scrivani, holds its own. - + Toggle Caption
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Flip through Dlia Golosa

Take a closer look at the pages of Dlia Golosa in this animation.
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This Project

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The Reva and David Logan Collection of Illustrated Books

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As the only works of art that must be handled to be fully experienced, artists’ books present a challenge for an institution charged with their conservation and display. The current project addresses this challenge by making contents of, and related information about, selected books from the collection available online using the capabilities of digital media. The project aims to raise the accessibility of the collection and create greater public understanding and awareness of what critic and historian Johanna Drucker has called “the quintessential twentieth-century art form.” This project intends to make significant works by many of the most important artists of the century available for public access in their entirety for the first time.

Major support for this project comes from:

The Jonathan Logan Family Foundation
The Reva and David Logan Foundation

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Over a period of twenty years, the Chicago collectors Reva and David Logan built one of the great private collections of artists’ books, and in 1998 donated that collection to the Achenbach Foundation for Graphic Arts, home of works on paper at the Fine Arts Museums of San Francisco.

With more than 400 carefully assembled titles, the Logan Collection contains many of the most important works in the genre, with significant artists’ books representing virtually every major art movement dating from the beginnings of the livre d’artiste in the late nineteenth century. Augmented by important works already held by the Achenbach Foundation, the Logan gift established the Fine Arts Museums of San Francisco as stewards of one of the most historically significant collections of artists’ books in the United States.

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This Project

alt="" width="" height="" - src="/assets/gathercontent/Vo5DXtfpnMiVjanB.jpg" + src="/assets/gathercontent/mOytxpvgloN4SYec.jpg" ci-responsive - ci-src="/assets/gathercontent/Vo5DXtfpnMiVjanB.jpg" + ci-src="/assets/gathercontent/mOytxpvgloN4SYec.jpg" ci-params="q70" >
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This Project

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This Project

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As the only works of art that must be handled to be fully experienced, artists’ books present a challenge for an institution charged with their conservation and display. The current project addresses this challenge by making contents of, and related information about, selected books from the collection available online using the capabilities of digital media. The project aims to raise the accessibility of the collection and create greater public understanding and awareness of what critic and historian Johanna Drucker has called “the quintessential twentieth-century art form.” This project intends to make significant works by many of the most important artists of the century available for public access in their entirety for the first time.

Major support for this project comes from:

The Jonathan Logan Family Foundation
The Reva and David Logan Foundation

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This Project

alt="" width="" height="" - src="/assets/gathercontent/mOytxpvgloN4SYec.jpg" + src="/assets/gathercontent/Vo5DXtfpnMiVjanB.jpg" ci-responsive - ci-src="/assets/gathercontent/mOytxpvgloN4SYec.jpg" + ci-src="/assets/gathercontent/Vo5DXtfpnMiVjanB.jpg" ci-params="q70" >
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The Reva and David Logan Collection of Illustrated Books

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Over a period of twenty years, the Chicago collectors Reva and David Logan built one of the great private collections of artists’ books, and in 1998 donated that collection to the Achenbach Foundation for Graphic Arts, home of works on paper at the Fine Arts Museums of San Francisco.

With more than 400 carefully assembled titles, the Logan Collection contains many of the most important works in the genre, with significant artists’ books representing virtually every major art movement dating from the beginnings of the livre d’artiste in the late nineteenth century. Augmented by important works already held by the Achenbach Foundation, the Logan gift established the Fine Arts Museums of San Francisco as stewards of one of the most historically significant collections of artists’ books in the United States.

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Chapters

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    Eleanor Rigby

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    Eleanor Rigby

    Cold-pressed letterpress messenger bag, vaporware 3 wolf moon enamel pin 90's YOLO meh. Farm-to-table plaid lo-fi neutra offal semiotics. Prism vegan squid kogi photo booth chia chambray heirloom DIY chillwave. Post-ironic offal pop-up, yuccie cold-pressed biodiesel VHS enamel pin affogato paleo sustainable vinyl ugh hell of.

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    Eleanor Rigby

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    Introduction

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    Other stories from Insights

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    Introduction

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    Test 1 Left

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    Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

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    - Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris. - Speaker Title, 1917 -
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    I'm a Lumberjack and I'm Okay

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    Read more

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    Test 1 Left

    alt="" width="" height="" - src="/assets/gathercontent/41754_190265_8383377_b417efabf8b0165ee5826f785b6ddcee.jpg" + src="/assets/gathercontent/41754_190265_8958895_5b992d119b0c7235af3c48d09add23a6.jpg" ci-responsive - ci-src="/assets/gathercontent/41754_190265_8383377_b417efabf8b0165ee5826f785b6ddcee.jpg" + ci-src="/assets/gathercontent/41754_190265_8958895_5b992d119b0c7235af3c48d09add23a6.jpg" ci-params="q70" >
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    Test 1 Right

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    Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

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    Hungarian-English Phrasebook

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    #LateMonet

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    Mott the Hoople

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    All the young dudes, carry the news

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    Ziggy Stardust and the Spiders from Mars

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    There's a starman waiting in the sky
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    - I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids. - General Jack D. Ripper - -
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    Other stories from Insights

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    I'm a Lumberjack and I'm Okay

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    Hungarian-English Phrasebook

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    All the young dudes, carry the news

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    Do you remember Walter?

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    The Lumberjack Song

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    - A Story -

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    A Story

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    Description

    1/1/2019

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    A Story
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    A Story
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    Introduction

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    + Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. +
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    Test 1 Left

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    Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

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    + Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris. + Speaker Title, 1917 +
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    Test 1 Right

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    Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

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    + Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit. + Attribution , 1999 +
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    + A Story +

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    Mette and Paul Gauguin in 1885 - + Toggle Caption
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    1870–1887

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    1888

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    1889–1890

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    1891–1893

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    1893–1895

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    1895–1903

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    Gauguin’s decision to become an artist and his compulsion to travel abroad led to his estrangement from his wife and family. According to Emil, the eldest of five children, “She [Mette] agreed to let him go, not because she had faith in his genius, but because she respected his passion for art. It was brave of her. It meant she was to assume the burden of maintaining [raising] and educating the children.” Separated for eighteen years, they never divorced and regularly corresponded until 1897. Mette promoted Gauguin by organizing several exhibitions and by selling his work. Numerous works in the exhibition belonged to Mette or passed through her hands.

    When Mette and Gauguin married in 1873, he was working in Paris as a stock broker and was able to provide a comfortable middle-class lifestyle for their family, which grew to include four sons and a daughter. Gauguin’s exposure to the extensive art collection of his guardian, Gustave Arosa—including works by Eugène Delacroix and the foremost artists of the French Salon as well as ceramics from around the world—contributed to his developing passion for art. He further cultivated his interest by collecting more than fifty works by artists including Camille Pissarro, Paul Cézanne, and Edgar Degas.

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    Though marked with extreme difficulty, Gauguin’s marriage to Mette Sophie Gad was the artist’s most enduring relationship.

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    After meeting Gauguin at Arosa’s home, Pissarro became his friend, mentor, and teacher. Gauguin later described Pissarro as “one of his masters.” The two artists often painted the same scene when working together at Pissarro’s home in Osny, a village northwest of Paris. Pissarro also encouraged Gauguin during his early career, inviting him to participate in the fourth Impressionist exhibition in 1879.

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    1895–1903

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    Though marked with extreme difficulty, Gauguin’s marriage to Mette Sophie Gad was the artist’s most enduring relationship.

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    After meeting Gauguin at Arosa’s home, Pissarro became his friend, mentor, and teacher. Gauguin later described Pissarro as “one of his masters.” The two artists often painted the same scene when working together at Pissarro’s home in Osny, a village northwest of Paris. Pissarro also encouraged Gauguin during his early career, inviting him to participate in the fourth Impressionist exhibition in 1879.

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    Gauguin’s decision to become an artist and his compulsion to travel abroad led to his estrangement from his wife and family. According to Emil, the eldest of five children, “She [Mette] agreed to let him go, not because she had faith in his genius, but because she respected his passion for art. It was brave of her. It meant she was to assume the burden of maintaining [raising] and educating the children.” Separated for eighteen years, they never divorced and regularly corresponded until 1897. Mette promoted Gauguin by organizing several exhibitions and by selling his work. Numerous works in the exhibition belonged to Mette or passed through her hands.

    When Mette and Gauguin married in 1873, he was working in Paris as a stock broker and was able to provide a comfortable middle-class lifestyle for their family, which grew to include four sons and a daughter. Gauguin’s exposure to the extensive art collection of his guardian, Gustave Arosa—including works by Eugène Delacroix and the foremost artists of the French Salon as well as ceramics from around the world—contributed to his developing passion for art. He further cultivated his interest by collecting more than fifty works by artists including Camille Pissarro, Paul Cézanne, and Edgar Degas.

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    - III - Women of Standing -

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    Gauguin’s relationships with and representations of women are a central theme in the artist’s career. This aspect of Gauguin’s biography can be challenging for some contemporary viewers given current views about sexual morality and women’s rights.

    While living in Tahiti and the Marquesas, Gauguin had relationships with at least three women: Teha’amana (Tahiti), Pau’ura a Tai (Pahura) (Tahiti), and Vaeoho Marie-Rose (Marquesas Islands), who each bore one or more of Gauguin’s children. These companions ranged in ages from 13 to 15, within the legal age of consent (13 in France at that time; 10 in California), and at least two of the relationships were perhaps facilitated by adult relatives. However, the women’s own preferences in entering these relationships are not documented or otherwise known. They were mentioned in his letters, featured in his journals, and were the subjects of many of his most striking artworks. They appear as models, muses, mothers, companions, and lovers—and as a Tahitian Eve. While Gauguin is the source for most of what we know about the lives of these young women, new research is revealing more about their personal stories.

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    Life Observed

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    Life Constructed

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    In this photograph, which was found among the artist’s effects after his death, Gauguin’s young model Tohotaua appears seated in the his Marquesan studio. In the background are European reference images, tools, and canvases. Within this setting, Gauguin posed Tohotaua dressed in the garment known as a pāreu and holding a fan. As the light from a nearby window falls across her arms and lap, Tohotaua stares boldly at the viewer.

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    Chapters

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    Publishing as an Art Form

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    Arrival

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    Iliazd was an organizer of the notorious “Coeur à Barbe” event, where violence broke out between Dadaists, led by Tristan Tzara, and proto-Surrealists, led by Andre Bréton and Paul Éluard.La Soirée du Coeur à barbe, July 6, 1923 - + Toggle Caption
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    Arrival

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    We Are The Fine Arts Museums of San Francisco

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    The Fine Arts Museums of San Francisco, comprising the de Young museum in Golden Gate Park and the Legion of Honor museum in Lincoln Park, are the largest public arts institution in San Francisco.

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    Obsessive Observation

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    de Young museum

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    Golden Gate Park
    50 Hagiwara Tea Garden Drive
    San Francisco, CA 94118
    Open 9:30 am—5:15 pm
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    415 750-3600

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    Obsessive Observation

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    Legion of Honor museum

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    Lincoln Park
    100 34th Avenue
    San Franciso, CA 94121
    Open 9:30 am—5:15 pm
    Tuesdays—Sundays
    415 750-3600

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    Obsessive Observation

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    Obsessive Observation

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    Creating Grandes Décorations

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    Home as Masterpiece

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    Monet long fantasized about creating a decorative room that would fully immerse the viewer in his work. What started as a modest idea grew into a massive project that consumed the last 10 years of the artist’s life.

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    “This house and this garden, it is also a masterpiece, and Monet has put all his life into creating and perfecting it.”
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    When Monet first moved to Giverny, this large interior space served as the artist’s studio. When he later had a second and third studio constructed, each consecutively larger, he used his former studio as a study for displaying his personal collection.

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    With the outbreak of World War I on French territory, Monet started to think of his project in more national terms. He planned to donate his canvases to the state as a testament to peace. The gift became a reality with the renovation of the Musée de l’Orangerie, in the Tuileries Gardens, in Paris.

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    In addition to his garden, Monet also enjoyed tailored English tweed suits, fast cars, and gourmet meals. He often exclaimed “lunch first” upon a visitor’s arrival. He was known for his refined taste and voracious appetite. The dining room, painted “Monet Yellow,” displayed 50 Japanese woodblock prints.

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    Monet’s son Michel and stepson Jean-Pierre both fought at the western front. When German troops drew close to Giverny, Monet declared, “As for me, I shall stay here regardless, and if those barbarians wish to kill me, I shall die among my canvases, in front of my life’s work.”

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    Félix Breuil served as the head gardener at Giverny for over 15 years. Breuil oversaw, in addition to the gardens, the multiple greenhouses Monet had constructed, including one for cultivating water lilies, complete with its own heating system.

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    Monet’s close friendship with Georges Clemenceau, France’s prime minister during the war, provided Monet with a grinding awareness of the magnitude of French losses, which totaled 1,357,800 casualties. After leaving office, Clemenceau proved an invaluable champion of Monet’s project, securing the contract with the state.

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    In addition to inspiring hundreds of canvases, Monet’s gardens served as an endless point of fascination. The artist avoided strangers but frequently entertained collectors and gallery owners such as Georges Durand-Ruel, the son of Monet’s longest-running gallerist, Paul Durand-Ruel.

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    Contemporary Views of Giverny

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    For over 20 years, the Versailles Foundation, Giverny Inc., has hosted artists at Monet’s home for three-month residencies, including, in 2011, the American artist Mickalene Thomas. Thomas was inspired by the attention Monet paid to creating an ideal creative retreat, and her resulting compositions focus on multiple details within a single environment.

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    With references to a horizon line reduced and then eliminated, the paintings become celebrations of color and form, anticipating later art movements of the 20th century.

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    In the final years of his career, Monet’s attention increasingly focused on the multiple visual effects of his lily pond, which he used as an instrument for radical artistic development. In 1903 Monet undertook his first series devoted to water lilies. Monet’s observations of his pond extend beyond the visual, becoming metaphorical statements about the transformative power of nature.

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    Color

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    Monet’s late depictions of his gardens are characterized by marked changes in his use of color, which might be explained in part by his vision problems. The artist was diagnosed with cataracts in 1912, at age 72, but his eyesight had begun to fail several years earlier. At this time, his brushstrokes became broader, and his hues became darker and muddier, with more brown, yellow, and purple. Fearful of cataract surgery, Monet turned to lenses and eye drops to improve his vision but eventually capitulated to surgery in 1923. After a long recovery and the use of new special lenses that completely covered one eye, he was confident enough to retouch some of his previous works and return to his most important projects.

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    To judge from his copious correspondences, Monet’s creative process was intertwined with self-doubt. In an 1890 letter to fellow artist and friend Berthe Morisot, Monet exclaimed, “This blasted painting is tormenting me and I can’t do anything about it. I am just scratching and wearing out canvases.” Time did not relieve Monet’s anxiety. His letters with Georges Clemenceau document the artist’s constant misgivings and the elder statesman’s unfailing encouragement to keep working. At times Monet’s anxiety would turn into anger, which he exercised against his canvases. In 1908 Lilla Cabot Perry, an American artist, reported that Monet burned 30 canvases. Others who visited the artist’s studio reported seeing canvases with knife gashes ripped through the compositions.

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    Despite his misgivings, Monet’s late work also attests to his unfailing work ethic and compulsion to create. In his later years the necessity to work seems to be intertwined with the artist’s awareness of his mortality. In his garden, Monet achieved his greatest challenge, the constant advancement of painting. These varied compositions, crowned by the larger scale Grandes Décorations, gave Monet a reason to exist.

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    Monet’s earliest paintings inspired by the gardens were studies of flowers. He waited nearly 15 years, as the plantings matured and filled in, before painting broader vistas. In maintaining the gardens, Monet was fastidious, as he knew the landscape would serve as his outdoor studio. The critic Arsène Alexandre once remarked: “His garden. He’s indebted to it, he’s proud of it.”

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    Monet

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    The Late Years

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    de Young museum

    February 16–May 27, 2019

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    Introduction

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    - For Monet, ambition never drifted far below the surface. From his artistic debut in 1865 to the final months of his life, Monet pursued the fame and recognition bestowed upon those who achieve artistic originality. Monet: The Late Years tells the story of the tenacity, obsession, and unmatched productivity that define the last two decades of the artist’s career. -
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    Learn more about the exhibition


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    The exhibition features 50 paintings by Claude Monet dating mainly from 1913 to 1926, the final phase of his long career, including 20 works from the Musée Marmottan Monet in Paris.

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    We Are The Fine Arts Museums of San Francisco

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    The Fine Arts Museums of San Francisco, comprising the de Young museum in Golden Gate Park and the Legion of Honor museum in Lincoln Park, are the largest public arts institution in San Francisco.

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    At the height of his work in the gardens, he employed eight gardeners and spent about 40,000 francs a year in plantings and upkeep.

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    We Are The Fine Arts Museums of San Francisco

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    50 Hagiwara Tea Garden Drive
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    From a very early age, Monet loved gardening, and he tended to the gardens at his homes before moving to Giverny. He once stated, “Beyond painting and gardening, I am good for nothing.” Upon taking possession of his Giverny home, called Le Pressoir (the Cider Press), Monet set about a massive redesign that slowly took shape between 1883 and 1899.

    His first order of business was to remove the kitchen garden at the front of the house and to update the plantings, giving particular attention to creating tones and color fields, in the two-and-a-half-acre walled garden behind the house. For Monet, who in his early career frequently experienced financial hardships, the garden—both its creation and its upkeep—amounted to a luxury.

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    Monet’s artistic vision knew no limits. After purchasing the property across from his home, Monet set about requesting permission from the local authorities to create a small diversion in the Epte River to create a pond, in which he planned to cultivate aquatic plants. He also requested permission to construct two bridges to cross this water garden. The local neighbors and farmers vigorously opposed the plan, fearing the possible pollution of their water source. A series of letters between Monet and his wife Alice document the artist’s sharp temper and steadfast resolve to achieve his vision. In one letter, Monet exclaims, “To hell with the natives of Giverny.” Years later, he again engaged with the local government, paying for all the roads in town to be paved to alleviate the dust that constantly contaminated the leaves of his water lilies.

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    Recounting his experience of seeing a Monet haystack in 1896, Wassily Kandinsky stated in 1913 that “objects were discredited as an essential element within the picture.” He went on to explain that Monet’s compositions relied upon the “power of the palette” and the use of color for its own sake.

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    As a young art student in the 1890s, Henri Matisse diligently studied Monet’s work, even going so far as to paint in some of Monet’s favored locations. On May 10, 1917, Matisse successfully managed to meet the famously reclusive artist. The artist painted The Music Lesson just a few months later.

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    While studying in Paris under the GI Bill, Ellsworth Kelly contacted Monet’s stepson Jean-Pierre Hoschedé, requesting to visit Giverny. Of the experience, Kelly recounted, “There must have been at least a dozen canvases . . . each on two easels. . . . The paintings were more or less abandoned.” The following day Kelly composed Tableau Vert.

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    Over the course of his long career, Monet witnessed the development of modernism, which both built upon and challenged his aesthetic vision. As Post-Impressionist artists such as Paul Gauguin, Paul Cézanne, and Vincent van Gogh transformed the art world, paving the way for the modernist art movements of the 20th century, Monet continued to advance his own style. After his initial introduction of a revolutionary use of color and bold brushstrokes, Monet started painting in series in 1891. His first exhibition of serial works featured compositions of haystacks in the fields surrounding Giverny. Creating a series of works focused on a single subject allowed Monet to demonstrate the level of exacting observation and meticulous skill involved in capturing changes in weather, atmosphere, and light. These works in part silenced critics who had accused the Impressionists of being overly spontaneous and haphazard.


    During the first two decades of the 20th century, Monet continued to evolve his style. While Pablo Picasso, Henri Matisse, Marcel Duchamp, and Fernand Léger made headlines with their own artistic visions, which minimized the importance of observing nature, Monet remained steadfast in his focus on his gardens. He brought vitality and interest to his work by evolving his brushstroke, which became broader and more layered, and significantly expanding the scale of his compositions. These stylistic innovations would crystalize in the artist’s most ambitious project, the Grandes Décorations, installed in the Musée de l’Orangerie in 1927, after the artist’s death, as a gift to the French state.

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    “It took me some time to understand my water lilies. . . . I cultivated them with no thought of painting them. . . . And then, suddenly, I had a revelation of the magic of my pond.” —Claude Monet

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    In 1883, at the age of 43, Monet settled in Giverny, France, a small village of no more than 300 inhabitants, with his two sons; his companion (soon to be second wife), Alice; and her six children. A direct train line provided easy access to Paris, just 45 miles away. Life in Giverny offered Monet unprecedented happiness and prosperity. However, by 1914 Monet had endured the debilitating loss of Alice and subsequent death of his eldest son, events that contributed to a nearly two-year hiatus from painting.

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    Monet returned to the subject of the Japanese bridge later in his career, treating it with bravado on a larger scale, with intense colors and gestural brushwork.

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    1967

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    Throughout his career, Monet kept works that held personal significance. Toward the end of his life, Monet displayed these works in one of his studio buildings, as seen in the photograph below. In it Monet and a guest study a fragment of the composition Luncheon on the Grass (1865–1866), painted when he was in his mid-twenties. This nearly life-size canvas is pictured hanging alongside works he painted from 1887 to 1919.

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    Expressive Impressions

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    Slowly Monet’s ambition for his water lily studies moved away from capturing observed visual effects and became more focused on eliciting an emotional response. As Monet revealed, “These waterscapes and reflections have become an obsession. They are beyond my old man’s powers, yet I want to succeed in expressing what I feel.”

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    - II - A Painter’s Garden -

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    Home as Masterpiece

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    Creating Grandes Décorations

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    “This house and this garden, it is also a masterpiece, and Monet has put all his life into creating and perfecting it.”
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    Monet long fantasized about creating a decorative room that would fully immerse the viewer in his work. What started as a modest idea grew into a massive project that consumed the last 10 years of the artist’s life.

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    With the outbreak of World War I on French territory, Monet started to think of his project in more national terms. He planned to donate his canvases to the state as a testament to peace. The gift became a reality with the renovation of the Musée de l’Orangerie, in the Tuileries Gardens, in Paris.

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    Monet’s son Michel and stepson Jean-Pierre both fought at the western front. When German troops drew close to Giverny, Monet declared, “As for me, I shall stay here regardless, and if those barbarians wish to kill me, I shall die among my canvases, in front of my life’s work.”

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    Monet’s close friendship with Georges Clemenceau, France’s prime minister during the war, provided Monet with a grinding awareness of the magnitude of French losses, which totaled 1,357,800 casualties. After leaving office, Clemenceau proved an invaluable champion of Monet’s project, securing the contract with the state.

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    In the final years of his career, Monet’s attention increasingly focused on the multiple visual effects of his lily pond, which he used as an instrument for radical artistic development. In 1903 Monet undertook his first series devoted to water lilies. Monet’s observations of his pond extend beyond the visual, becoming metaphorical statements about the transformative power of nature.

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    These canvases, painted while the artist was in his 70s and 80s, are often so large that they cannot be seen in a single glance. Monet’s stepdaughter Blanche, nicknamed “the Blue Angel” for her blue eyes and endless patience, served as Monet’s chief assistant, moving canvases about his studio. At times his gardeners would help bring canvases to the gardens.

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    Monet achieved complicated effects through his studied examination of reflections. In 1908 he remarked, “These landscapes of water and reflections have become an obsession.”

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    From the start, Monet was an accomplished colorist, leading his contemporary Paul Cézanne to declare, “Monet is nothing but an eye, but what an eye.” His late compositions show broad, energetic brushstrokes of vibrant color that float on the two-dimensional surface of the canvas. Other examples are so vibrantly colored that they elude a direct connection with nature and suggest pure sensory experience in its place.

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    With references to a horizon line reduced and then eliminated, the paintings become celebrations of color and form, anticipating later art movements of the 20th century.

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    When Monet first moved to Giverny, this large interior space served as the artist’s studio. When he later had a second and third studio constructed, each consecutively larger, he used his former studio as a study for displaying his personal collection.

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    Monet’s late depictions of his gardens are characterized by marked changes in his use of color, which might be explained in part by his vision problems. The artist was diagnosed with cataracts in 1912, at age 72, but his eyesight had begun to fail several years earlier. At this time, his brushstrokes became broader, and his hues became darker and muddier, with more brown, yellow, and purple. Fearful of cataract surgery, Monet turned to lenses and eye drops to improve his vision but eventually capitulated to surgery in 1923. After a long recovery and the use of new special lenses that completely covered one eye, he was confident enough to retouch some of his previous works and return to his most important projects.

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    To judge from his copious correspondences, Monet’s creative process was intertwined with self-doubt. In an 1890 letter to fellow artist and friend Berthe Morisot, Monet exclaimed, “This blasted painting is tormenting me and I can’t do anything about it. I am just scratching and wearing out canvases.” Time did not relieve Monet’s anxiety. His letters with Georges Clemenceau document the artist’s constant misgivings and the elder statesman’s unfailing encouragement to keep working. At times Monet’s anxiety would turn into anger, which he exercised against his canvases. In 1908 Lilla Cabot Perry, an American artist, reported that Monet burned 30 canvases. Others who visited the artist’s studio reported seeing canvases with knife gashes ripped through the compositions.

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    In addition to his garden, Monet also enjoyed tailored English tweed suits, fast cars, and gourmet meals. He often exclaimed “lunch first” upon a visitor’s arrival. He was known for his refined taste and voracious appetite. The dining room, painted “Monet Yellow,” displayed 50 Japanese woodblock prints.

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    —Claude Monet

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    Despite his misgivings, Monet’s late work also attests to his unfailing work ethic and compulsion to create. In his later years the necessity to work seems to be intertwined with the artist’s awareness of his mortality. In his garden, Monet achieved his greatest challenge, the constant advancement of painting. These varied compositions, crowned by the larger scale Grandes Décorations, gave Monet a reason to exist.

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    Home as Masterpiece

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    Félix Breuil served as the head gardener at Giverny for over 15 years. Breuil oversaw, in addition to the gardens, the multiple greenhouses Monet had constructed, including one for cultivating water lilies, complete with its own heating system.

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    Watch

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    In addition to inspiring hundreds of canvases, Monet’s gardens served as an endless point of fascination. The artist avoided strangers but frequently entertained collectors and gallery owners such as Georges Durand-Ruel, the son of Monet’s longest-running gallerist, Paul Durand-Ruel.

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    For over 20 years, the Versailles Foundation, Giverny Inc., has hosted artists at Monet’s home for three-month residencies, including, in 2011, the American artist Mickalene Thomas. Thomas was inspired by the attention Monet paid to creating an ideal creative retreat, and her resulting compositions focus on multiple details within a single environment.

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    Monet’s Influence on Painting in the 20th Century

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    Recounting his experience of seeing a Monet haystack in 1896, Wassily Kandinsky stated in 1913 that “objects were discredited as an essential element within the picture.” He went on to explain that Monet’s compositions relied upon the “power of the palette” and the use of color for its own sake.

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    As a young art student in the 1890s, Henri Matisse diligently studied Monet’s work, even going so far as to paint in some of Monet’s favored locations. On May 10, 1917, Matisse successfully managed to meet the famously reclusive artist. The artist painted The Music Lesson just a few months later.

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    While studying in Paris under the GI Bill, Ellsworth Kelly contacted Monet’s stepson Jean-Pierre Hoschedé, requesting to visit Giverny. Of the experience, Kelly recounted, “There must have been at least a dozen canvases . . . each on two easels. . . . The paintings were more or less abandoned.” The following day Kelly composed Tableau Vert.

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    In 1967 the Abstract Expressionist painter Joan Mitchell purchased a property in the French coastal village of Vétheuil. The gardener’s cottage on her property once served as Monet’s home. On this basis, critics and historians alike drew comparisons between their works. Mitchell ardently denied Monet’s influence, stating her paintings were “about a feeling that comes to me from the outside, from landscape.”

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    From a very early age, Monet loved gardening, and he tended to the gardens at his homes before moving to Giverny. He once stated, “Beyond painting and gardening, I am good for nothing.” Upon taking possession of his Giverny home, called Le Pressoir (the Cider Press), Monet set about a massive redesign that slowly took shape between 1883 and 1899.

    His first order of business was to remove the kitchen garden at the front of the house and to update the plantings, giving particular attention to creating tones and color fields, in the two-and-a-half-acre walled garden behind the house. For Monet, who in his early career frequently experienced financial hardships, the garden—both its creation and its upkeep—amounted to a luxury.

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    Monet’s artistic vision knew no limits. After purchasing the property across from his home, Monet set about requesting permission from the local authorities to create a small diversion in the Epte River to create a pond, in which he planned to cultivate aquatic plants. He also requested permission to construct two bridges to cross this water garden. The local neighbors and farmers vigorously opposed the plan, fearing the possible pollution of their water source. A series of letters between Monet and his wife Alice document the artist’s sharp temper and steadfast resolve to achieve his vision. In one letter, Monet exclaims, “To hell with the natives of Giverny.” Years later, he again engaged with the local government, paying for all the roads in town to be paved to alleviate the dust that constantly contaminated the leaves of his water lilies.

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    Over the course of his long career, Monet witnessed the development of modernism, which both built upon and challenged his aesthetic vision. As Post-Impressionist artists such as Paul Gauguin, Paul Cézanne, and Vincent van Gogh transformed the art world, paving the way for the modernist art movements of the 20th century, Monet continued to advance his own style. After his initial introduction of a revolutionary use of color and bold brushstrokes, Monet started painting in series in 1891. His first exhibition of serial works featured compositions of haystacks in the fields surrounding Giverny. Creating a series of works focused on a single subject allowed Monet to demonstrate the level of exacting observation and meticulous skill involved in capturing changes in weather, atmosphere, and light. These works in part silenced critics who had accused the Impressionists of being overly spontaneous and haphazard.


    During the first two decades of the 20th century, Monet continued to evolve his style. While Pablo Picasso, Henri Matisse, Marcel Duchamp, and Fernand Léger made headlines with their own artistic visions, which minimized the importance of observing nature, Monet remained steadfast in his focus on his gardens. He brought vitality and interest to his work by evolving his brushstroke, which became broader and more layered, and significantly expanding the scale of his compositions. These stylistic innovations would crystalize in the artist’s most ambitious project, the Grandes Décorations, installed in the Musée de l’Orangerie in 1927, after the artist’s death, as a gift to the French state.

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    Monet’s earliest paintings inspired by the gardens were studies of flowers. He waited nearly 15 years, as the plantings matured and filled in, before painting broader vistas. In maintaining the gardens, Monet was fastidious, as he knew the landscape would serve as his outdoor studio. The critic Arsène Alexandre once remarked: “His garden. He’s indebted to it, he’s proud of it.”

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    In 1883, at the age of 43, Monet settled in Giverny, France, a small village of no more than 300 inhabitants, with his two sons; his companion (soon to be second wife), Alice; and her six children. A direct train line provided easy access to Paris, just 45 miles away. Life in Giverny offered Monet unprecedented happiness and prosperity. However, by 1914 Monet had endured the debilitating loss of Alice and subsequent death of his eldest son, events that contributed to a nearly two-year hiatus from painting.

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    Throughout his career, Monet kept works that held personal significance. Toward the end of his life, Monet displayed these works in one of his studio buildings, as seen in the photograph below. In it Monet and a guest study a fragment of the composition Luncheon on the Grass (1865–1866), painted when he was in his mid-twenties. This nearly life-size canvas is pictured hanging alongside works he painted from 1887 to 1919.

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    Feeling a sense of mortality and knowing the “heroic years” of Impressionism were behind him, Monet increasingly focused on his art historical legacy.

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    “It took me some time to understand my water lilies. . . . I cultivated them with no thought of painting them. . . . And then, suddenly, I had a revelation of the magic of my pond.” —Claude Monet

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    The artist installed his wooden Japanese-style footbridge in 1895, aligned with the grande allée, the arbor-covered pathway leading to the main entrance of his house.

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    Monet returned to the subject of the Japanese bridge later in his career, treating it with bravado on a larger scale, with intense colors and gestural brushwork.

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    “It took me some time to understand my water lilies. . . . I cultivated them with no thought of painting them. . . . And then, suddenly, I had a revelation of the magic of my pond.” —Claude Monet

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    Expressive Impressions

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    Close study of Monet’s brushstrokes in Weeping Willow reveals that the artist worked in multiple layers, applying some wet on wet and others after the paint fully dried. Despite Monet’s emphasis on his work “in the field,” his working process always included time in the studio. In fact, at Giverny Monet constructed three increasingly larger studios in which to work.

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    + [Nature] is greatness, power, and immortality beside which creatures seem to be no more than miserable atoms. + Claude Monet, June 1909 (Roger Marx, Gazette des Beaux Arts) + +
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    Chapters

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    Chapters

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    The Art of the Salon-Style Hang

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    Crowds gather at the Louvre, an early venue for the Salon, in Paris (right), and at Somerset House, an early venue for the Summer Exhibition at, in London (left). - + Toggle Caption
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    A taste of its time: Carle Vanloo’s Four Arts series<

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    A taste of its time: Carle Vanloo’s Four Arts series<

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    A taste of its time: Carle Vanloo’s Four Arts series<

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    A taste of its time: Carle Vanloo’s Four Arts series<

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    Unpacking the Salon-Style Han

    The salon-style hang, and its more-is-more aesthetic, took its cue from private picture galleries at the estates of European aristocrats. By mimicking these elite domestic interiors, the Salon and Summer Exhibition positioned themselves as privileged spaces that presented artworks as highly valued possessions—appreciated by many, but only owned by a few.

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