字幕表 動画を再生する 英語字幕をプリント - [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.
B1 中級 米 Beyond the Surface | Discovering Monet 9 2 Shiau Han Li に公開 2022 年 05 月 10 日 シェア シェア 保存 報告 動画の中の単語