Word: monet
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There was an Absinthe Drinker reminiscent of Frans Hals, a Spanish Ballet in Goya's broad, fluent style, a flag-decked street brushed loosely and brightly in the manner of Monet,* and a rather plain blonde mooning over a plum in a cafe which Degas might have painted. Their sources were often apparent, but Manet's clean, revealing light raised each picture above the level of imitation and tended to surpass even his chosen masters'. That same light had long made Manet a laughingstock of Paris...
When Renoir wrote those words (in 1882) his deft blottings pleased his impressionist friends but not himself. Like Monet, Sisley and Pissarro, Renoir had learned to see nature as a dazzling cobweb of colored light, where the shapes of things melt and blend like mist. But at 40 the spare, scraggle-bearded painter grew suddenly sick of mistiness, went digging for solid forms. He became a student again, and spent the next two years in life classes, learning to draw...
Gauguin had gone far beyond the hurried lyricism of Claude Monet (whom he once collected), but he seldom banged the brasses like his fellow pioneer Van Gogh. His island landscapes had a muted harmony which reminded U.S. eyes of moist June afternoons seen through Polaroid sunglasses. The honey-colored people who lived in them possessed the gentle strength and warmth of his models, the wooden stiffness and empty-eyed thoughtfulness of their idols. Each painting was an elaborate, somber tapestry of colors that no other artist had yet dared to weave...
...French and American paintings). Other buyers (mostly anonymous) paid $30,000 for one Toulouse-Lautrec, $27,500 for another. A Corot went for $18,000; a Cezanne portrait of his wife for $24,500; a view of the Seine by Daumier for $15,250, and one by Monet for $11,000; a Renoir nude sold for $12,000. Total evening's business: $221,500 for 20 paintings, almost double what art experts expected the lot to sell...
...finespun theory making the rounds of Buenos Aires last week was that the Monet-snatcher had no intention of trying to dispose of the picture-he was just settling an old score with the National Museum's Director Augusto da Rocha. A tightfisted administrator (he slashed the museum's staff) and no patron of the local art mart, politically rightist da Rocha has long been at odds with most Argentine artists, who are largely left-of-liberal. The expertly executed theft might prove embarrassing enough to cost...