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"Landscape: The Parc Monceau”, 1876 Mia Feigelson Gallery


By Claude Monet (French, 1840–1926)
oil on canvas; 59.7 x 82.6 cm (3 1/2 x 32 1/2 in.)
© The Metropolitan Museum of Art, New York
Bequest of Loula D. Lasker, New York City, 1961
https://bit.ly/2b809gz
https://www.facebook.com/metmuseum

”Situated on the boulevard de Courcelles in Paris and surrounded by fashionable town houses, the Parc Monceau was planned in the late eighteenth century in the form of an English garden.

Monet painted three views of the park in the spring of 1876. This one, shown at the 1877 Impressionist exhibition, focuses on the swaths of green grass and blooming trees. The building visible at left in this painting also appears in two works from 1878, including one in the Museum’s collection." — Find out more https://bit.ly/2b809gz

"The Garden in Flower", 1900 Mia Feigelson Gallery
By Claude Monet (French, 1840-1926)
oil on canvas; 89 x 92 cm (35 x 36.2 in.)
Place of creation: Giverny, France
Private Collection

"Claude Monet lived for forty-three years, from 1883 to 1926, in his house in Giverny. With a passion for gardening as well as for colours, he conceived both his flower garden and water garden as true works of art.

Walking through his house and gardens, visitors can still feel the atmosphere which reigned at the home of the Master of Impressionnism and marvel at the floral compositions and nymphéas, his greatest sources of inspiration.

Mpnet. He untiringly transformed an abandoned domaine into a floral masterpiece, to be the inspiration for many of his greatest works of art. Monet was not only a painter of his own garden but also an artist whose painting trips took him away for lengthy periods of time. However, he was never really far from his garden .

Through constant correspondence, he kept a close eye on his family and his flowers . Frequent visits from his friends and admirers made Giverny the centre of his existence . Until his death in 1926, the painter, the father , the gardener and the man would never really leave Giverny."

Pyjama d’été pour femme en satin et dentelle www.coubr.fr

"Fisherman's Cottage, Varengeville", 1882 Mia Feigelson Gallery
By Claude Monet (French, 1840-1926)
oil on canvas; 71.5 x 58 cm (28.1 x 22.8 in.)
© Museum Boijmans Van Beuningen, Rotterdam, Netherlands
Purchased, 1928 http://bit.ly/2U0VzoI
https://www.facebook.com/boijmans

Overview:
"Monet liked repeating certain subjects. He saw this fisherman’s cottage while travelling through Normandy in 1882 and painted it no fewer than eight times. We look down on it from a higher cliff, which accounts for the unusual composition with the high horizon. But Monet probably owed his receptiveness to such an extreme vantage point to his study of Japanese prints." — Find out more http://bit.ly/2U0VzoI

Context:
"Located along the Normandy coast just west of Dieppe at Varengeville, the gorge of the Petit Ailly was first painted by Monet in 1882. During this excursion, he painted several versions of this dramatic setting and was lured back again almost fifteen years later to continue the series in 1896 and 1897.

The small cabin that appears in many of these paintings was built as a customs house during the Napoleonic blockade of Europe; from this clifftop perch, officials could spot incoming cargo ships that needed to be intercepted and taxed. Later, the weathered cabin was used by local fishermen for storage and shelter.

Having managed to obtain the keys to the customs house to use it as a local resident, Monet was so pleased upon his return in 1896 that he told Alice Hoschedé, 'it was just as I had left it'.

Indeed, Monet could identify with the local residents, as he was raised in nearby Le Havre and Sainte-Addresse. His love for the region is evident in his frequent representations of these towns as well as neighboring villages such as Trouville, Etretat, Deauville, and Dieppe.

Unlike Monet's earlier paintings of bustling city boulevards, or the crowded beaches and boardwalks of fashionable seaside resorts, his Cabane des douaniers à Varengeville evokes a more innocent memory of the French countryside, where one could experience an authentic appreciation of nature.

According to Paul Tucker, Monet personally identified with such scenes:

In almost all of these views, Monet depicts the house as isolated and alone, vulnerable and steadfast, as if it were a human being... Whether blown by the winds or bathed in brilliant sunlight, the house also takes on the attributes of a landscape painter alone with his motifs, enduring the elements in order to be one with them much like Monet himself." — Find out more http://bit.ly/2YVMfpM

Dior.

"Landscape at Port-Villez", 1885 Mia Feigelson Gallery Impressionism Post-Impressionism - Mia Feigelson
By Claude Monet (French, 1840-1926)
oil on canvas; 65 x 92 cm (25.6 x 36.2 in.)
Private Collection

Place of creation: Port-Villez, a commune in the Yvelines department in the Île-de-France in north-central France. It is situated about 13 kilometres (8.1 miles) from Giverny.

In 1883 Claude Monet and his family moved from Poissy to Giverny.
Monet executed several scenes of the Seine near his house at Giverny. He probably began each canvas in a specially adapted flat-bottomed boat, but would have continued working on paintings in his studio over a period of time.

In 1891 he said,
'For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light, which vary continuously. For me, it is only the surrounding atmosphere which gives subjects their true value'." | Source: Tate Britain

"Tulip Fields at Sassenheim, Netherlands", 1886
By Claude Monet (French, 1840-1926)
oil on canvas; (59.7 x 73 cm (23 1/2 x 28 3/4 in.)
© The Clark, Williamstown, Massachusetts, US
Acquired by Sterling and Francine Clark, 1933 https://bit.ly/33cKHeU
https://www.facebook.com/clarkartinstitute

Overview:
"In 1886, Monet was invited by a French diplomat to visit Holland’s famous tulip fields. The artist was concerned that the “poor colors” of modern oil paint might not effectively convey the fields’ vibrant hues. In the foreground of this view, the flowers are painted with thick, parallel strokes of bright red, yellow, violet, and cream, the colours glowing in the sunlight beneath a brilliant blue sky.

Sterling Clark bought the work directly from the private collection of Monet’s dealer, Paul Durand-Ruel, in 1933." — Find out more https://bit.ly/33cKHeU

Saiid Kobeisy Spring/Summer 2023.

Galerie Dior
11, Rue François 1er - Paris 8e
Légère comme une plume.

Ca a été long ... Nous vous parlons de nos réflexions, nos hésitations, nos recherches et nos essais... partageons un peu maladroitement nos émotions ...