Word: monets
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Dates: during 1950-1959
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...museums. Carried in three moving vans, traveling by secret routes and picking up police escorts en route, the show's 101 paintings added up to $5,600,000 worth of art masterworks, ranging in period from late Renaissance to Braque and Matisse, in size from a 20-ft. Monet Nymphéas to an 11-in Madonna and Child by Dutch Master Lucas van Leyden. Owner of this treasure trove (plus an estimated 2,000 additional paintings and drawings and some 1,000 pieces of sculpture stacked away in apartments and warehouses): Multimillionaire Walter P. Chrysler...
French Trail Blazers. Monet and Renoir nevertheless persisted in following the evidence of their own eyes rather than the accepted (dun-colored) mode of seeing. Though they lost their first battles to a color-blind public, they could not possibly lose the war, since optical truth was on their side. The truth spread slowly. Toward the close of the igth century it was brought across the Atlantic by the best, of the American impressionists...
...studied the light on the church at Old Lyme as assiduously as Monet had studied the rosier light on Rouen cathedral, yet no one would compare the invariably pleasant Hassam with trail-blazing Monet. Where Monet had created new problems to solve, Hassam skillfully ducked old ones. For example, the clock faces in his Church could not have been painted in sharp focus without violating his soft focus view of the building, nor could they have been done in soft focus without frustrating man's natural urge to read clocks-so he simply hid them in leaves...
...academic art, does not think of his later paintings as pictures at all. Says he, "They are myself." In order to put himself into his canvases, Guston makes them close to his own size. For such self-consciously personal work, the results look strangely like blowups of Claude Monet's water-lily impressions...
...Monet's enthusiastic visitors during his final years was a painter a generation younger, Pierre Bonnard, who had a house across the Seine from Giverny. His Dining Room in the Country (opposite) is one of the best examples of what impressionism became under Bonnard's brush. In it, the transition from the blue tablecloth set in the cool interior of what is probably Bonnard's summer house, past the door and window, framing a dark-haired woman, to the shimmering outdoor vibrations, becomes a melodic, orchestrated movement from calm interior repose to the joyous peacefulness...