Word: monets
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Dates: during 1950-1959
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...enough to outrage viewers brought up on neoclassicism and romantic literary allusions. Manet discovered his clue to portraiture, and his fresh, vigorous palette, in the paintings of the 17th century painter Velásquez. In The Fifer, Manet even used the same greyish background Velásquez employed. Claude Monet, on the other hand, made his own discovery, that light acting and reacting over objects is all that the eye knows of them, and that color in shadows, far from being black, often strikes the eye more caressingly than in blinding sunlight...
...jeuner sur I'Herbe, Monet, then 25, began his manifesto, one of the greatest lost paintings of modern art. Gigantic in scale, the canvas measured 15 ft. by 19 ft., was referred to by one friend as "this huge sandwich which costs the earth." In it, Monet set out to prove how the sunlight actually filters through the trees, how a real picnic looks in the forest, how color glows in the shade. It was never shown. Monet had to leave it with the innkeeper as guaranty against his unpaid bill. He recovered it, found it largely ruined...
Footlights & Picnics. Within the impressionists' circle, Manet and Monet together set off what Curator Bazin calls the "Cycle of Picnics," notes: "No school of painting has ever taken so much trouble to describe the life of its contemporaries, to show them their own pleasures, to help them forget their sorrows. No school of painting was ever so optimistic...
Accepted abroad in Berlin, New York and Chicago while still suspect in Paris, the impressionists fought for Louvre recognition under the leadership of Claude Monet, who spearheaded a subscription movement to buy Manet's famed nude Olympia for the nation. Accepted in 1890 after heated argument, Olympia was hung in the Luxembourg Palace, then the waiting room for the main Louvre collection. In 1894 the painter Gustave Caillebotte bequeathed the nation 67 prize impressionist paintings, had 38 grudgingly accepted for the Luxembourg, including Renoir's Le Moulin de la Galette, Pissarro's Red Roofs. By 1911, opinion...
...educated plunger who grew rich by learning fast and backing his opinions stubbornly, Jim Hill began buying paintings when he was 43, rapidly moved from sentimental genre pictures to the bucolic moodiness of France's Barbizon School and the summery scenes of Corot, in time learned to like Monet and Renoir. Among Hill's favorites were the rousing historical scenes of the great 19th century French Romantic, Eugene Delacroix, including The Algerian Combat.* Hill's own sound maxim, discovered early: good art drives out bad. In his last years, while the townspeople along "Jim Hill...