![]() ![]() With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world. We believe that the brilliant histories of art belong to everyone, no matter their background. cat.At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. Museum Barberini, PotsdamĬlaude Monet: The Truth of Nature, exh. Impressionism: The Art of Landscape, exh. ![]() 2, Cologneīernhard Echte and Walter Feilchenfeldt (Ed.): Kunstsalon Paul Cassirer: DieĪusstellungen 1905–1908, vol. Österreichische Galerie Belvedere, Vienna 1996, no.ĭaniel Wildenstein, Monet: Catalogue Raisonné. plate 39ĭaniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol.ġ, Lausanne 1974, no. p.įrom Realism to Symbolism: Whistler and His World, exh. Oscar Reuterswärd, Monet: En konstnarhistorik, Stockholm 1948, ill. Impressionism: The Hasso Plattner Collection, Museum Barberini, Potsdam,īildender Kunst,” in Deutsche Tageszeitung 500 (October 24, 1905) Nuits électriques, Musée d’art moderne André Malraux, Le Havre, July 3–November Monet: Orte, Museum Barberini, Potsdam, February 22–July 19, 2020, no. Impressionism: The Art of Landscape, Museum Barberini, Potsdam, JanuaryĬlaude Monet: The Truth of Nature, Denver Art Museum, October 20, Musée Marmottan Monet, Paris, September 18, 2014–January 18, 2015, no. Impression, soleil levant: L'histoire vraie du chef-d'œuvre de Claude Monet, Monet 1840–1926, Musée d'Orsay Galeries nationales du Grand Palais, Impression: Painting Quickly in France 1860–1890, The National Gallery, York, March 4–ApMuseum of Art, Philadelphia, April 15–May 23, 1971,Ĭlaude Monet: 1840–1926, The Art Institute of Chicago, July 22–November 26,Ĭlaude Monet, Österreichische Galerie Belvedere, Vienna, March 14–June 16, 15 ( Nacht, 1873)Įxposition (du Havre), Hôtel de Ville, Cercle de l'art moderne, LeĮxposition des Beaux-Arts, Düsseldorf, April–December 1913įrom Realism to Symbolism: Whistler and His World, Wildenstein, New Kollektion Claude Monet, Paul Cassirer,īerlin, October 1–November 10, 1905, no. Goupil Gallery, London, April–May 1889, no. Like Impression, Sunrise, it is incorrectly dated there to 1873. In the four-volume catalogue raisonné of Monet’s paintings compiled by Daniel Wildenstein, The Port of Le Havre, Night Effect is listed as no. 1864, National Galleries of Scotland, Edinburgh) and three night views of Leicester Square in London, painted around 1900–01. Despite the seeming abstraction of their visual language, both works bear witness to the artist’s pursuit of an authentic rendering of the motif under specific conditions of weather and light.Īside from this work, Monet’s oeuvre of over two thousand paintings includes only four other night scenes: the painting A Seascape, Shipping by Moonlight(ca. The true subject of this stylistically radical work is the flickering of these ultra-modern lights and their reflection on the gently rippling water-unlike the contemporaneous Impression, Sunrise, where Monet explored the reddish shimmer of dawn spreading slowly over the port. The evenly spaced white dots in a horizontal row in the background, however, represent the gas lanterns that had been installed beginning in 1869. A number of red and green lights are also clearly visible, including one at the end of the southern landing stage as well as two side lights on moving boats. The two glowing white dots in the upper left of the picture space represent masthead lights, which were required for steamships and could be seen from a great distance in fair weather, even in the dead of night. Historical photographs, as well as documentation related to the installation of the lighting in Le Havre, demonstrate that Monet rendered the contours of the port with topographical precision. At first glance, the motif of the industrial harbor with its artificial illumination is difficult to discern through the loose, sketch-like brushstrokes. ![]() Monet painted The Port of Le Havre, Night Effect in 1872 as a pendant to his seminal work Impression, Sunrise (1872, Musée Marmottan Monet, Paris), which attracted attention at the first Impressionist exhibition in 1874. Monet had spent his childhood and youth in Le Havre, a city in Normandy with the second largest port in France, and he repeatedly depicted both the picturesque cliffs along the Atlantic coast and the port area of the economically ambitious region. ![]()
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