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Upon entering, the first pleasant surprise is Monet's Poppies Near Vétheuil and Manet's In the Garden of Bellevue hanging in the downstairs salon. But the vibrancy and luminosity of those Impressionist masters are just a foretaste of this small but exquisite museum's offerings. Upstairs, for instance, is Van Gogh's The Sower, whose thick brushstrokes and bright greens, yellows and blues announced a new style for the artist at an especially troubled period of his life: only two months after finishing it in 1888, Van Gogh argued with Gauguin and famously cut off part...

Author: /time Magazine | Title: An Eye for Quality | 9/26/2007 | See Source »

...door to the Swallowtail opens and there stands Saionji, good man that he is, as skilled a butler who ever buttled. He takes our coats and bags and shimmers away, leading us down the corridor past gilded mirrors, Monet prints and bursting bouquets to our table in the Swallowtail's elegant tearoom. As I move to sit at our table, a second butler, named Mikami, materializes to ease me into my chair. "Good day, princess," he says to my dining companion--and not, I assume, to me. I order the Earl Grey tea and the Macbeth--a petite...

Author: /time Magazine | Title: Letter From Tokyo: Where Japanese Women Rule | 1/25/2007 | See Source »

More rewarding is to speculate about how art opened Monet to Japan. Printmaking is a more cumbersome and less forgiving process than painting, so Japanese artists developed a remarkable economy of expression. Utamaro, for instance, could with a mere line or two describe the course of a river or the fullness of a women's breast. Thus could Monet - in Impression, Sunrise (1873), the painting that gave Impressionism its name - conjure up a boat with a mere squiggle of the brush...

Author: /time Magazine | Title: Monet's Love Affair with Japanese Art | 1/4/2007 | See Source »

...Monet also shared his Japanese predecessors' fascination with nature and informal scenes of everyday life: compare Monet's two girls at the beach in Les Cousines (1870), downstairs at the Marmottan, to Utagawa Toyokuni's Three Women on a Boat Lamparo Fishing (before 1825), upstairs. Monet's snowscapes, like those he did of Argenteuil, are indirect descendants of the snowy fields and mountains of Hiroshige and Hokusai. The unconventional, asymmetric "snapshot" composition favored by ukiyo-e artists became a hallmark of Impressionism: a good example is the Marmottan's La Barque (1887), in which Monet places the barque, or boat...

Author: /time Magazine | Title: Monet's Love Affair with Japanese Art | 1/4/2007 | See Source »

Perhaps the greatest gift Japan gave Monet, and Impressionism, was an incandescent obsession with getting the play of light and shadow, the balance of colors and the curve of a line, just right - not the way it is in reality, but the way it looks in the artist's imagination. "I have slowly learned about the pattern of the grass, the trees, the structure of birds and other animals like insects and fish, so that when I am 80, I hope to be better," Hokusai wrote 16 years before his death at age 89. "At 90, I hope to have...

Author: /time Magazine | Title: Monet's Love Affair with Japanese Art | 1/4/2007 | See Source »

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