Word: monets
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Dates: during 1960-1969
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...number of major works of the past century form the core of the exhibition. Monet, Manet, Degas, Cezanne, Gaugin, Renior, Sisley, and Pissarro, and Toulouse-Lautrec are represented proportionate to their value on what must regrettably be called the art-historical market. Two of Monet's studies of Rouen cathedral are here, as is a small study by Manet after Valazquez, anticipating several later works. A self portrait by Van Gogh captures both the texture of the flesh and the introspection of the personality in precise but broad brush strokes moving inward towards the center of the composition. Van Gogh...
...Durand-Ruel Gallery, Critic Pierre Cabanne of the weekly Arts neatly summed up the fate of Impressionist Camille Pissarro. He is largely ignored, said Cabanne, "for not having the ardour of Cezanne, the sensuality of Renoir, the brilliance of Sisley, the visual sharpness of Degas, the fullness of Monet's conception." At first glance, Pissarro's work does seem to lack the dazzle of his colleagues', but after longer study, the full truth emerges. Far from lacking the virtues of the others, he had them all under firm and quiet control. Indeed, he was a source...
...currents of the great stream of impressionism. In his early paintings of peasants, there are the same firm, sharply outlined bodies that, in greatly developed form, became the hallmark of Renoir. In the solid structure of the landscape, there are the origins of Cezanne, and some paintings have Monet's ability to dissolve substance into light...
...natural beauty. And on the docks in Gloucester, I remember doing a collage with pieces of cotton and a button sewed on the canvas and a piece of tin." Finally, in 1927, he "nailed a rubber glove, an electric fan and an egg beater to a table and, like Monet with his haystack, stuck with that single subject for a whole year...
...mere formalist. The abstract expressionists, with their great swirls and blots, showed something no man had ever seen before. They were, therefore, the truer artists. Getlein noted that Rosenberg's "tradition of the new," if carried to its logical conclusion, would pretty much dispose of Michelangelo and Monet, since everyone knew about the human figure and water lilies. He went...