Word: monetization
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...painting, two great landscapists, Claude Monet and Paul Cézanne, are twin bridges between the 19th century and our own. As Cézanne's work provoked cubism, so Monet's looked forward to abstract expressionism. Today the role of landscape in art has shrunk. But the most ecstatic perceptions of experience and the most radical discoveries about the language of color and shape that these sublime artificers made were developed from their landscape motifs. Cézanne's was the Provençal countryside around Aix. Monet's was a garden at Giverny, about...
...Monet moved to Giverny at the mid-point of his life, in 1883; seven years later he was able to buy the house and start acquiring parcels of land along the junction of the Ru and the Epte, two tributaries of the nearby Seine. By 1926, when Monet-old, nearly blind, and as close to being a national hero as any French artist has ever been in his own lifetime-eventually died, the garden had become one of the most complete environmental expressions of a man's taste ever to be constructed. Monet created his own motif in order...
...garden became an exquisitely balanced artifact: rose arbors, willows, iris beds, raked paths, wisteria, a Japanese bridge and-most rewarding of all to the painter-ponds and water lilies. For the last 20 years of Monet's life, his "harem of nature," as Art Historian Kirk Varnedoe elegantly calls it, needed the services of six gardeners. After his death it began to decay. By 1966, when Monet's only surviving son-the reclusive Michel-died, the place had been closed to visitors, a shambles of rank growth and silted-up ponds. Recently, with a large grant from...
...mark the event, Manhattan's Metropolitan Museum of Art has put on a sumptuous show titled "Monet's Years at Giverny: Beyond Impressionism." It contains 81 paintings-a third of them lent by the Musée Marmottan in Paris, all of them images from the garden. We see, lined up, the different versions of each motif that Monet so obsessively worked at, in every possible variation of light, laboring to divide nuances into further nuances and stabilize their intervals with the devotion of a particle physicist: the poplars, the haystacks, the rose-twined tunnel of the arbor...
...core of Monet's achievement was his sense of time. He was fascinated by the discontinuous nature of reality: by the fact that, as a Greek sophist put it, you cannot step into the same river once, for it changes as the foot enters. Monet's Giverny paintings make up the most sustained and intelligent meditation on transience by a great artist since-what? Leonardo's water drawings? Probably, for although Monet's fellow impressionists also predicated their images on the moment, none of them was able to go so far in the direction of displaying...