Name: クロード・モネ《プールヴィルの崖の散歩道》1882年 (Claude Monet, Cliff Walk at Pourville, 1882)
Uploaded: 2021-01-14T04:54:28.000Z
Duration: 4 min 30 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

再帰代名詞

Beth: I put myself in the position of these figures

程度の副詞

on this cliff and I almost feel that wind

Steven: I can hear the cloth on my shirt just whipping.

I think we're ready for the sound effects now.

we're on a cliff walk in a seaside resort

in northwestern France on the English Channel,

we see these two women ... This is just a lovely

image of people walking on a path in nature.

Beth: Well, I think the fact that we immediately say,

is indicative of the fact that Monet is doing

It's lovely to go for a walk along the clifftops

and feel the wind and look out to the sea.

Steven: We're still part of the modern world,

that he lived in and so there is a real sense of immediacy

and that comes across in the brush strokes.

So it's his hand moving across the canvas,

but it's also the wind whipping through the grasses

Beth: And yet all of that is also rounded by

these two vertical features that we see of the rocks

that mimic the verticality of the figures.

Steven: And look how he's used those cliff faces

to create a sense of the brilliance of the day.

The contrast is so sharp, it reminds us of when

But even though the painting seems completely

spontaneous, in fact, it was carefully crafted,

we know from Monet's letters that when he

painted these images, and he painted about

Beth: Of these scenes of the Normandy coast

Steven: He would go back and go back and go back

to them ... ten ... fifteen, sometimes even twenty times.

Beth: And so there really are layers of paint

and when you get up close, you can see those layers.

There is this conflict between that the spontaneity,

the momentariness of this scene and the way that he

Steven: Let's step up. Let's look really closely at this.

So sometimes you see areas where the paint is still very fresh.

Remember, this is oil. It doesn't dry quickly

and you can see how he's painting wet paint

Beth: So if you paint wet paint over wet,

Steven: And you can see that, if you look especially

Look at their dresses. Do you see, for instance,

in the woman that's close to us, the way in which

there's that white at the bottom of her dress ... I mean,

look at the way that the bell of the dress is pushed

up against the back of her legs, really giving you

in that direction, as well, but look at that way in which

the white pushes down into the red and picks some of it up.

So this is wet paint that is pushing other wet paint

Beth: We could see that, too, in the figure in the background

where the white that he's added on top of the

red color of the parasol is smearing that red under layer.

Steven: That's right and that is really different from,

You'll notice that there's a cool almost jade-like green,

but you'll also notice that there are areas where

the paint seems to skip over an under layer

was dry and actually had still ridges in it

Beth: It's just this incredible knowledge of his materials

and what he needs to do with those materials

for him to achieve the effect that he wants to achieve.

Steven: Well, that's right. I think he's there for a

[freed] to really pay attention to what he's seeing.

Beth: This is a painting that's about the pleasure of seeing.

These figures are enjoying their walk along the cliff.

They're looking out at this lovely picturesque

landscape of cliffs and sea and sky and the clouds moving.

We have this visual pleasure and they're experiencing

This is about looking in the modern world,

a kind of experience of being a middle-class person

at their leisure on holiday, something that we can all relate to.

Steven: But painted in a way that brings us in,

in a wonderfully intimate and direct way,