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WHY DO WE LOVE MONET?
Is it because he often takes us on a walk into a summer garden, vibrant with brilliant color and luminous light,
Or to the banks of the Seine River, shimmering with reflections of multi-colored light.
Then guiding us into the countryside and the vision of his wife Camille on a hilltop, posed against an azure sky of windswept clouds.
Next, to Normandy, where some fishermen chat, perhaps waiting for the weather to clear.
Or offering us the chance to explore the dramatic cliffs of Etretat, one of Monet’s frequent painting sites.
Also accompanying Monet to London, among his favorite cities, where at sunset, the Houses of Parliament tower above the Thames River like a medieval apparition.
Plus Venice, aanother magical destination, where we can ride with Monet in a gondola past a Renaissance palace, a man-made dream, adorned in jewel-like colors.
Finally to Giverny, the center of Monet’s creative world during the last 25 years of his life. A paradise of waterlilies, floating leisurely along the pond’s surface underneath theJapanese-style bridge built by the artist.
CREDITS:
- The Artist’s Garden at Vetheuil, 1881, oil on canvas, Ailsa Mellon Bruce Collection, National Gallery of Art, Washington, D.C.
- The Bridge at Argenteuil, 1874, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C.
- Woman with a Parasol–Madame Monet and Her Son, 1875, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C.
- The Beach at Sainte-Adresse, 1867, oil on canvas, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, Art Institute of Chicago, Illinois
- Etretat: The Beach and the Falaise d’Amont, 1885, oil on canvas, Gift of Mrs. John H. (Anne R.) Winterbotham in memory of John H. Winterbotham, Joseph Winterbotham Collection, Art Institute of Chicago, Illinois
- The Houses of Parliament, Sunset, 1903, oil on canvas, Chester Dale Collection, National Gallery of Art, Washington, D.C.
- Palazzo da Mula, Venice, 1908, oil on canvas, Chester Dale Collection, National Gallery of Art, Washington, D.C.
- The Japanese Footbridge, 1899, oil on canvas, Gift of Victoria Nebeker Coberly in memory of her son John W. Mudd and Walter H. and Lenore Annenberg, National Gallery of Art, Washington, D.C.
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In the public domain, courtesy of the National Gallery of Art, Washington, D.C.
The National Gallery of Art does not endorse or approve use of the above image or any of the material on this website. Nor has the National Gallery of Art participated in any projects utilizing the said image.
CCO Public Domain Designation
The Art Institute of Chicago does not endorse or approve use of the above image or any of the material on this website. Nor has the Art Institute of Chicago participated in any projects utilizing the said image.
