DOI issue:
Nr. 180 (March 1908)
DOI article:Alexandre, Arsène: Claude Monet, his career and work
DOI Page / Citation link:https://doi.org/10.11588/diglit.20777#0117
Claude Monet
Let me just mention the most famous of them ;
for it is impossible to examine them all in this
restricted space.* Following Les Meules came
the no less admired works depicting the cathedral
of Rouen.
By turns in silver, in gold, in pearls, this
prodigious piece of sculptured jewellery appears
in some fresh and surprising aspect. Herein
perhaps the spirit of analysis governing the artist’s
vision of things may be said to reach its climax.
* In order not to interrupt our investigation of the
general idea of Monet’s work it has been necessary to pass
by certain things, typical though they be. Here, however,
are notes which will enable the reader to fill in the detail
to the ensemble already indicated. In 1866 Monet produced
a very large picture (Dejeuner sur V Her be), and at the same
time as Camille, referred to above, a big figure of a woman
in Japanese garb. In 1871 he did some views of the
London parks ; in 1877-8 studies of engine smoke at the
Gare Saint - Lazare; in 1885 the cliffs of Etretat, &c.,
occupied his attention ; in 1878-9 he did views of Vetheuil
with the Seine full of ice; in 1886 the rocks of Belle-tle ;
in 1889 views of La Creuse ; and in 1895 Norwegian
scenes. The Meules, as already stated, dates from 1890.
The sets are completed by a motif taken from the banks
of the Seine—an arm of the river winding among great
clumps of trees. This series is one of great delicacy and
delightful freshness.
Then there were the Vues de Norvlge, the Rochers
a Belle-lie, the Peupliers on a river bank, the
Vues de Vltheuil, taken from the other side of the
Seine, and others. But the last Series are exceed-
ingly original. One is that of the Nymphoeas.
Part of Monet’s property at Giverny is occupied
by a piece of water abounding in water-plants and
vegetation generally, which turn it into a sort of
fairy scene. A Japanese bridge crosses the water,
and in the paintings of it the general effect has
been infinitely varied, the views ranging from the
subtlest mysteries to the most gorgeous fanfares of
colour. The other Series consists of his Vues de la
Tamise. M. Monet painted the immense stream
with the fanciful but imposing silhouette of the
Houses of Parliament visible through the strangest
and most romantic of atmospheres which he seems
to have inhaled through his every pore ; while the
movement and bustle of London Bridge are seen
either quivering with light or disguised into
apparent irreality by prismatic fogs. At times the
work is as detailed as the sculptures on the front
of Rouen Cathedral, at others it is just a simple,
strident gleam amid deepest gloom, tearing open
the sky and suggesting the clacking of the waters
Let me just mention the most famous of them ;
for it is impossible to examine them all in this
restricted space.* Following Les Meules came
the no less admired works depicting the cathedral
of Rouen.
By turns in silver, in gold, in pearls, this
prodigious piece of sculptured jewellery appears
in some fresh and surprising aspect. Herein
perhaps the spirit of analysis governing the artist’s
vision of things may be said to reach its climax.
* In order not to interrupt our investigation of the
general idea of Monet’s work it has been necessary to pass
by certain things, typical though they be. Here, however,
are notes which will enable the reader to fill in the detail
to the ensemble already indicated. In 1866 Monet produced
a very large picture (Dejeuner sur V Her be), and at the same
time as Camille, referred to above, a big figure of a woman
in Japanese garb. In 1871 he did some views of the
London parks ; in 1877-8 studies of engine smoke at the
Gare Saint - Lazare; in 1885 the cliffs of Etretat, &c.,
occupied his attention ; in 1878-9 he did views of Vetheuil
with the Seine full of ice; in 1886 the rocks of Belle-tle ;
in 1889 views of La Creuse ; and in 1895 Norwegian
scenes. The Meules, as already stated, dates from 1890.
The sets are completed by a motif taken from the banks
of the Seine—an arm of the river winding among great
clumps of trees. This series is one of great delicacy and
delightful freshness.
Then there were the Vues de Norvlge, the Rochers
a Belle-lie, the Peupliers on a river bank, the
Vues de Vltheuil, taken from the other side of the
Seine, and others. But the last Series are exceed-
ingly original. One is that of the Nymphoeas.
Part of Monet’s property at Giverny is occupied
by a piece of water abounding in water-plants and
vegetation generally, which turn it into a sort of
fairy scene. A Japanese bridge crosses the water,
and in the paintings of it the general effect has
been infinitely varied, the views ranging from the
subtlest mysteries to the most gorgeous fanfares of
colour. The other Series consists of his Vues de la
Tamise. M. Monet painted the immense stream
with the fanciful but imposing silhouette of the
Houses of Parliament visible through the strangest
and most romantic of atmospheres which he seems
to have inhaled through his every pore ; while the
movement and bustle of London Bridge are seen
either quivering with light or disguised into
apparent irreality by prismatic fogs. At times the
work is as detailed as the sculptures on the front
of Rouen Cathedral, at others it is just a simple,
strident gleam amid deepest gloom, tearing open
the sky and suggesting the clacking of the waters