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  • - [Narrator] Beyond the Surface.

  • Monet in Series

  • Beginning in the 1890s,

  • Monet experimented with a radical new approach

  • that would consume his work

  • in the last three decades of his life.

  • He began painting the same motif at different times of day

  • and across seasons to show

  • the changing effects of light and atmosphere.

  • New scientific discoveries give insight

  • into how Monet painted his most iconic subjects.

  • Stacks of wheat in the French countryside,

  • the Thames River in London,

  • and his garden at Giverny, outside of Paris.

  • Stacks

  • Harmony

  • - [Monet] "It takes a great deal of work to succeed

  • in rendering what I want to render . . .

  • the same light diffused over everything."

  • - [Narrator] Monet to Gustave Geffroy,

  • Giverny, October 7, 1890

  • These stacks of wheat were common in rural France

  • and stood 15 to 20 feet tall.

  • For Monet, their appeal was both visual and symbolic,

  • they represented sustenance and survival.

  • The Art Institute holds 6

  • of the 25 known "Stacks of Wheat" paintings,

  • which Monet produced between late summer 1890

  • and February 1891.

  • He worked on multiple canvases at the same time

  • in an effort to harmonize each painting

  • within a unified ensemble.

  • The stacks' simple form allowed the artist

  • to explore the effects of changing atmospheric conditions.

  • Technical analysis reveals that Monet

  • started painting from direct observation outdoors

  • and often revised each composition later in his studio.

  • The infrared image of this work

  • shows that Monet originally included

  • another, smaller stack at right,

  • which he ultimately painted out.

  • The blanket of snow was also a later addition.

  • Small gaps in the brushwork reveal glimpses

  • of bright green paint beneath the snow-covered field,

  • suggesting that the painted landscape

  • was once at least partially green.

  • A range of scientific imaging techniques

  • confirm that each of the Art Institute's paintings

  • was revised and adjusted to different degrees.

  • The complex layers of paint on each canvas

  • attest to Monet's painstaking efforts to unify the series.

  • London

  • Atmosphere

  • - [Monet] "There was an extraordinary fog, quite yellow;

  • I made a pretty good impression, I think;

  • It's always more beautiful than the rest,

  • but so changeable."

  • - [Narrator] Monet to Alice Monet,

  • London, February 26, 1900

  • Monet made three trips to London between 1899 and 1901,

  • painting some of the city's most recognizable landmarks.

  • Working from his room at the Savoy hotel,

  • Monet studied the Waterloo Bridge

  • at different times of day

  • and under varying weather conditions, painting it 41 times.

  • Monet loved the London fog

  • and painted the city softened by its effect.

  • In this work, he used a carefully coordinated palette

  • and distinct touches of color

  • across the surface of the whole painting.

  • As a result, the architectural structures

  • seem to dissolve into their surroundings.

  • A few quick dashes of paint

  • distinguish vehicles passing over the bridge.

  • The cars' headlights are represented

  • by daubs of bright yellow and red paint,

  • added as final touches.

  • These brilliant colors transform the most ephemeral element,

  • light itself,

  • into one of the most tangible features of the composition.

  • Water Lilies

  • Surface

  • - [Monet] "These landscapes of water and reflections

  • have become an obsession.

  • It's quite beyond the powers at my age,

  • and yet I want to succeed in rendering what I feel."

  • - [Narrator] Monet to Gustave Geffroy,

  • Giverny, August 11, 1908

  • In June 1920, Martin and Carrie Ryerson

  • visited Monet at Giverny on behalf of the Art Institute.

  • These Ryerson family photographs

  • document the artist's Japanese-inspired wooden bridge

  • and beloved water-lily pond.

  • Monet explored the pond's play

  • of watery reflections and solid forms.

  • X-rays reveal that he originally planned

  • a denser coverage of water lilies in the foreground.

  • Monet likely worked on this painting

  • from the pond's grassy edge,

  • capturing both the vegetation on the water's surface

  • and the reflection of its surrounding environment.

  • He executed the composition over several sessions,

  • building up multiple layers of paint

  • that create texture from beneath the surface

  • and applied thick buttery strokes for the plants,

  • which, altogether,

  • contribute to an almost sculptural effect.

  • The final result is expansive, immersive, and otherworldly.

  • Between 1905 and 1908

  • Monet worked on more than 60 views

  • of his water-lily pond at Giverny.

  • In total, he would create over 300 paintings

  • of what he called his "most beautiful masterpiece."

  • The subject dominated his late work,

  • increasing in scale from easel paintings

  • to room-sized panels.

  • Monet's complex surfaces have inspired

  • generations of artists

  • and continue to captivate audiences today.

- [Narrator] Beyond the Surface.

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Beyond the Surface | Discovering Monet

  • 9 2
    Shiau Han Li に公開 2022 年 05 月 10 日
動画の中の単語