Monet exhibition at the Grand Palais in Paris

[fabosch]

And it is remarkable how two works hung on photo 1 and 2.

tchaika, interestingly, is that - surviving fragments of the great works of Monet or so written?

[tchaika]

From the book by J.-P. Crespel Everyday Life Impressionists. 1863-1883 ":
"In the summer of 1865, remained in Chailly for five months (in an accident that resulted in a broken leg), Monet began work on the preparatory sketches for what was intended them huge - 6x4, 6 m - leaf by an amount equal to" workshop " Courbet, which he called "Breakfast on the Grass" - in homage to Manet. In this picture there was no nudity, only an elegant ladies under umbrellas and men redingotah. The canvas was designed primarily to study the lighting in the forest - in the shade of trees and meadow.

This bold initiative, predprnyatoe 25-year old youth, interested in everyone, and Courbet, while living in Marlott, visited Monet in Chailly, so generously to help him advice and cheer up a young colleague, which has always favored. Courbet behaved unexpectedly: he advised the youth to temper his zeal. As a result, the picture was never completed: whether the spirit was not enough, or Monet realized that is not yet ripe for the implementation of his plan, but it stopped working and more to the picture did not come back.

This canvas had to endure untold adventures in art history. Monet, as usual, left a picture of bail innkeeper "Golden Lion", but all pay the bill, he failed in spite of Auntie Lekadr subsidies.

Many years later, he found the canvas in the barn where he kept rolled up, eaten by dampness. Seeing that the canvas can not be restored, Monet snapped apart, untouched by moisture, and the remaining emissions.

One of the pieces, replacing many of the owners, was in the hands of a wealthy Lebanese collector.

Another part of the experienced trader Jerome Wildenstein sought after the war in the studio at Giverny ... and handed her a gift of the Louvre. A noble deed, and at the same time, the coup Wildenstein in a dispute with the Lebanese, not conceding he owns a piece of canvas in the hope that, tired of fighting, Jerome Wildenstein relinquish his own. Transferring your canvas Louvre, a Lebanese trader robbed of last resort.

One can only deplore the fact that Monet did not finish his painting: a big preparatory sketch, which is stored at the State Museum of Fine Arts. AS Pushkin in Moscow, indicates that this product could become one of the most successful in his work. "

[tchaika]

Pictures at an Exhibition:

[tchaika]

Continued:

[fabosch]

tchaika, you have such wonderful fotoetyudy happened with shadows, visitors on the background of the "native", recognizable by Monet.
Wonderful.
I like

[tchaika]

"The artist Courbet paid us a visit to see the Monet (" Breakfast on the Grass "). Courbet was fascinated. All we received about twenty artists, and all admired the picture, although it is not finished yet (of course, I'm not talking about his work ). Monet painting caused a stir at the Exhibition. " From a letter to Frederic Bazille's brother Mark, December 1865.

[tchaika]

Here's how to describe this period of life of Claude Monet and the history of his painting, "Breakfast on the Grass" by John Revald in his book "The History of Impressionism:
"... In the year preceding the 1864-th, Monet and Bazille spent their Easter vacation in Chailly, a village on the outskirts of the forest of Fontainebleau, near Barbizon. They went there for a week to make some sketches of trees in the open air, forests, famous for its huge oak trees and picturesque rocks. Once Basile returned to Paris, he returned to continue practicing medicine, is still consuming half of his time - he told his parents that he was leaving with a friend, "who is very strong in the landscape, and he gave me some advice and they really helped me ... In some places the forest is really great. " Indeed, the forest was so great, that Monet stayed there for one, tempted by good weather and work has commenced. His cousin and mentor Tulmush did not fail to notice that in his opinion, "was a serious mistake as soon leave the studio, but Monet once said:" I did not abandon her. I just find here thousands of fascinating things and could not resist the them.

While Monet admired the work of Millet. Once, when Monet saw a crowd of Millet and wanted to talk to him, one of my friends stopped him: "Do not go, Millet terrible person, a very proud and arrogant. It would offend you."

... Young Friends are not often met with Coro. "He was constantly surrounded by some idiots - later recalled Renoir - and I did not want to be one of them. I loved him at a distance."
Coro has always advised his followers to choose only those motifs that are consistent with their own impressions, believing that the soul of every man is a mirror, reflecting in its own nature. He often told them: "Do not imitate, do not follow others, you will be behind them."

Monet convince Basile to go with him in Honfleur ...

After the departure of Basile, 15 July, Monet wrote him a long letter: "... every day I discover more and more beauty, it can reduce the human mind, I'd love to do everything at once, just head breaking up! .. I am very happy with my stay here, although my studies is far from what I wish, really damn hard to make a thing complete in all respects ... Well, my dear friend, I intend to fight, scrape, to start again because it convey what you see is that you realize - you can ... After long observation and reflection to realize this ... I thought of great things at the time that will stay in Saint-Adresse in Paris in the winter. At Saint-Simeon wonderful ... "

Monet returned to Paris in late 1864 with a series of paintings, among them were two seascapes, which he intended to send to the Salon.
In January 1865 Basile rented a studio on the streets Furstenberg, 6, where they used to be a friend of the apartment window was observed sitting at his easel, Delacroix, Monet, and joined him. There, accompanied by Cezanne, Pissarro came. He came back and Courbet, as, despite the relentless narcissism, he was keen interest related to the work of the new generation did not consider it beneath their dignity to attend workshops of young artists.

... Lively discussions in which theoretical issues discussed so passionately, as if they depended on the life and death battle that raged around the paintings, symphonies, or books - all these signs of feverish intellectual activity, particularly admired by Monet, now seemed to interest him much less. He longed to return to the forest of Fontainebleau, because it has conceived an ambitious figure compositions in the landscape - the plot, close to the "Breakfast on the Grass" by Manet, but unlike it written in the open air and depicts a group of vacationers, not only in daylight and in the real environment, but also in the free positions inherent in the people on a normal outing. Too much to it to be fully implemented in the woods, this pattern should be based on numerous studies made on the spot.

In April 1865 Monet went back to Chailly choose a suitable place and soon Basil wrote, asking to come to approve of his choice, as well as posing for one or more shapes. "I only think about his picture, - he added - and if I knew I would not write it, I would probably have gone mad." Basil joined him, but soon Monet injured his leg (in the forest of Fontainebleau was a meeting with the champion of England's discus, which accidentally hit in the leg disc Claude Monet). Despite all their rage, Monet was to stay in bed. Looked after him Basile knew no other means to make him lie still, how to write a portrait of him while he was chained to a wide bed in their country inn. As soon as Monet got to his feet, he was with renewed vigor got to work, while Basile in his spare time, scribbled a few landscapes in Chailly. Courbet came to see how it works by Monet, when he posed for Basil, and introduced the two friends from Coro. "(To be continued)

- Edouard Manet, "Breakfast on the Grass", 1863.
- Frederic Bazille "Makeshift Hospital, 1865.

[tchaika]

"Meanwhile, the time has come again Saloon (1865). The jury, in exactly the same composition as that of last year (although Coro got even less votes), once again showed some leniency towards the new talents.

But while Renoir was listed in the directory student Gleyra, Monet, exhibiting for the first time, does not name the teacher.
Two paintings, Monet shown, represented species mouth of the Seine, made last year in Honfleur. Because the paintings at the Salon, to avoid protectionism and hung up now in alphabetical order, the work of Monet were in the same room with Manet. When the opening day of the exhibition Manet entered the room, he was unpleasantly surprised by the fact that several people praised his seascapes. Having examined the signature on the two paintings attributed to him, Manet decided at the outset that this is some kind of a cheap joke, and, presumably, the fact that these marine landscapes continued to enjoy more success than his work, not softened his anger. He resigned in fury, and openly complained to some friends: "I congratulate not only belong to my work. You may think that this is a hoax."

And indeed, the work of Monet once won a great success, and since they found the same directness of approach, the same freedom of execution that have characterized the work of Courbet and his followers (not to mention the similarity between his name and signature of Man), it is not surprising was that at first glance they attributed to the author of "Breakfast on the grass." But critics have fallen into this error, and while some of them are sharply opposed to paintings by Manet, praise they left for Monet.

Browser "Gazette des Beaux-Arts" Paul Mantz wrote: "The tendency to harmony of colors, a sense of Valero, a striking sense of the whole, a brave manner of seeing things and attract the viewer's attention - these are the qualities that Mr. Monnet already has a high degree. His mouth of the Seine "suddenly stopped us and we will not forget. As of today, we, of course, with interest will follow the future progress of this sincere seascapes.

This sudden, unexpected success was not only a great incentive for the Monet, but he could not make a favorable impression on his family in Le Havre. However, Monet did not stay in Paris, enjoying his triumph. Conceived of a large track drew him back to Chailly, and Basil informed the parents: "Monet had much greater success than expected. Many talented artists with whom he had never met, sent him a flattering letter. At the moment he is in Fontainebleau, and I would also like to be there. "

A Monet meanwhile worked on the coast again, this time in the company of Boudin and Courbet, joined and Whistler. Monet, essentially, for the first time he worked next to Courbet and, undoubtedly, was to extract new benefits from this experience. The same "broad principle" Courbet, who once charmed the oscillating Boudin, now found a much more rapid response from Monet, because he felt the need for a broad technology and almost in a rough style. Working in the open air, Courbet was magnificent in its confidence, is striking in the art of handling brushes and spatula, is instructive in the ability to combine subtle with the gross and delightful in its inspiration, which led to the delight of others, and giving them, forced to work feverishly. "(Continued follows)

Paintings by Claude Monet:
- "The mouth of the Seine at Honfleur, 1865, 90h150 see the Norton Simon Museum, Pasadena, California.
- "The Beach at Honfleur, 1864-1866, 87 x 109.22 cm, National Museum of Art, Los Angeles.
- Cape Ev, St. Address ", 1864, 41 x 73 cm, National Museum, London.
- Cape Ev near Ebbe, 1865, 90h150 see, Kimbell Art Museum, Fort Worth.
- Towing boats, 1864, 55.5x82 cm, the Memorial Art Gallery, University of Rochester, New York.

[tchaika]

"While in Chailly Monet imposed last touches to his large canvas" Breakfast on the Grass ", Courbet, attached to him so much that even helped financially, visited him at the last minute offered to make some changes . Monet followed the advice of what was sorry afterwards, as the painting, destined for the Salon, in its new form did not satisfy him . He took it off the stretcher, rolled up and, unable to pay his master, left it in the Chailly, where she began to mold . Instead, he wrote a few days, a large, full-length portrait of a young girl Camille, which, apparently, shortly before the meeting and which was soon destined to share with him his misery, his hopes, his disappointments.

At the Salon in 1866 with Monet were taken and "Camille" and "Road to the forest of Fontainebleau."

Of all the friends, put in the cabin, the greatest success again fell to the lot of Monet's, although his paintings were badly hung. Zola was not the only one to recognize this great talent. Byurzhe praised and "Camille" and "Road to the forest of Fontainebleau," declaring that "the true artist can do whatever he wants." Kastanyari also wrote a number of friendly lines, praising Monet and welcoming it as a new addition to camp, naturalists "(this term, he joined" all the young people - the idealists and the realists ").
Even those observers who did not like "Camilla", give it a significant place and Astryuk managed to present a young artist Manet, and he took it as a friendly, shortly before this took Cezanne. Monet was a complete success, when Ernest d'Erviyi wrote a poem about "Camilla", published in the journal "L'Artiste", and when Monet was asked to make a reduced recurrence of picture that one trader had intended for America.

Newspapers once again told the name of the Monet to Le Havre and helped him to once again win the respect of the family. However, with respect, at least for some time, renewed and cash assistance. "(To be continued)

Paintings by Claude Monet:
- "Paved the road to Chailly in the forest of Fontainebleau, 1865, x. /M, 43.5 x 59 cm., Musee d'Orsay, Paris.
- Basil and Camilla (sketch for the painting "Breakfast on the Grass"), 1865, x. /M, 93 x 69 cm, National Gallery of Art, Washington.
- "Breakfast on the Grass" (left side), 1865, x. /M, 418 x 150 cm., Musee d'Orsay, Paris.
- "Breakfast on the Grass" (central part), 1865, x. /M, 248 x 217 cm, Musée d'Orsay, Paris.
- "Camille" ("Lady in green dress), 1866, x. /M, 231 x 151 cm, Art Museum, Bremen.

[tchaika]

More paintings by Claude Monet painted at Fontainebleau:

- "The road in the woods", 1864, 43x60 cm, private collection.

- "In the forest of Fontainebleau", 1865, 96.2 x 129.2 cm, Metropolitan Museum of Art, New York.

- "Oak Bodmer forest of Fontainebleau, 1865.

- Rick in Chailly at sunrise, 1865, San Diego Museum of Art.