Turner, tried as hard as Claude Monet (1840-1926) to capture light itself on canvas. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.No other artist, apart from J. The high point of his explorations were the late series of waterlilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. It could be said that Monet reinvented the possibilities of colour, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. Of all the Impressionists, it was the man Cézanne called 'only an eye, but my God what an eye!' who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. This documentary supplement on its own would not be of merit without the generous visual mise-en-scene with which it is combined.' Basler Magazin, BaselĪlong with Turner, no artist has sought more than Monet to capture light itself on canvas. In this process of seeing and reproducing what was seen, lies Monet's special importance. They show that while he was working, Monet followed what he saw, and that what he saw was different at the end of his life than at the beginning. 'The biography is accompanied by old photographs, so that Monet's world can be visually resurrected.
'Only an eye, but my God what an eye!' Cézanne
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