Claude Monet London.Parliament. (essay based on a painting) Student 3 “B” class MBOU Lyceum No. 7, Krasny Sulin, Rostov Region Loktionova Semyon
Claude Monet is a representative of impressionism (French - impression) - a movement in the art of the latter thirds of the XIX- early 20th century He tried to capture, as naturally and freshly as possible, a fleeting impression of a rapidly flowing, constantly changing life. Subjects of the paintings: city streets, rural landscapes, familiar and familiar buildings to everyone. The main thing for him was the alternation of light and shadow, the bizarre play of sun “bunnies” on the most ordinary objects. Monet used a new painting technique, in which the paints were not mixed on the easel, but were applied to the canvas with a brush in the form of separate strokes. His works should be viewed from a distance, then clear separate strokes smoothly transition into each other, and a feeling of dynamics is created. It turns out that volumetric forms gradually dissolve in the light-air shell enveloping them. (1840-1926)
London. Parliament. 1904
One of these paintings is “London. Parliament" (1904), where the artist depicted the Palace of Westmina - the seat of the English Parliament. This is one of the most beautiful and famous buildings in London. Blurred shapes and lack of boundaries between sky and water. Here the architectural structure is devoid of materiality, it becomes an ethereal silhouette, blurry, barely distinguishable from its reflection in the water. This further enhances the impression of unreality and ghostliness of the Parliament building, which appears on the canvas like a ghost. It looks like rocks on a steep bank. The pointed spiers of the turrets seem to dissolve into the heights. The Victoria Tower rises majestically and romantically above the royal entrance of the famous Big Ben clock tower, which chimes the first hours of the morning. In addition, to enhance the visionary character of the architecture, Monet changes its proportions and visually lengthens the height of the central tower. The boundaries of the castle and its reflections in the water have been erased. At its foot the Thames wakes up in small ripples. Lost in it is the timid morning sun, which with its rays through the fog is trying to caress the still sleeping city. A lonely fisherman's boat glides smoothly down the river. The sun has not yet risen, but its rays have already painted the sky in golden-peach warm colors. The cold waters of the Thames reflect a heavenly riot of colors. Thanks to the fog, everything seems to be in a purple haze. The uniformity of the colorful texture creates a feeling of fog density and makes it possible to alternate strokes of different colors. With their help, the artist conveys the play of light and emphasizes the interpenetration of reality and its image. In the painting, the palette retains the artist’s inherent sense of proportion and is limited mainly to blue, yellow and some shades of pink and purple.
Links: http://gallerix.ru/album/Claude-Monet - reproduction of a painting by Monet London. Parliament http://ru.wikipedia.org/wiki/%D0%9C%D0%BE%D0%BD%D0%B5,_%D0%9A%D0%BB%D0%BE%D0%B4 – Portrait of Claude Monet, about the life of the artist. http://impressionnisme.narod.ru/index.htm - article impressionism.
The work of Claude Monet is distinguished by a variety of themes, compositional solutions and created images. The painter painted the Houses of Parliament in London many times. At the same time, the works devoted to the creation of “English” landscapes were distinguished by their originality and dissimilarity. Given that storyline was the same for this series of works, all paintings on this topic were original and unique.
An example is the impressionistic painting by Claude Monet “The Houses of Parliament in London. Sunset". The painting was painted in 1904, during the life of Claude Monet in England. Currently the work can be found in Zurich at the Kunsthaus. The image was created by the artist using the technique oil painting. “Houses of Parliament in London. Sunset" is part of a series of works by Claude Monet dedicated to England, its cities, and the peculiarities of life in "Foggy Albion".
The sunset image of the Parliament building is filled with special expression, emotional color, brightness and contrast of lighting effects. The picture has a particularly disturbing mood. Characteristic is the feeling of the beauty of a fading day, a kind of “death” of the day. This is, in a way, a metaphor for leaving, the tragedy of the death of something beautiful. The silhouette of the Parliament building is colored in rich dark blue and black tones. The outlines of the building resemble the sharp teeth of some kind of conventional fence, drawn out with all the rigor and seriousness of lines and proportions. The black and red coloring of the canvas introduces a feeling of the separation of the world, the duality of the environment. The canvas does not at all resemble a light, gentle impressionistic sketch. But rather, it is rich in meaning and philosophical reflections. work of art. Associations inevitably arise related to the philosophy of disaster, represented by the landscape in fiery black sunset colors. The artist declares the burning sun, flaming in all shades of red, to be the main pictorial symbol of this canvas.
This setting sun seems to dominate everything, acting as the compositional center. The reflection of the setting sun in the waters of the Thames doubles and complicates the space of the picture. The flash strokes with which the red-yellow fireball was drawn in the plane of the sky and the water surface colored the entire visible space.
The impressionistic skill of Claude Monet was particularly embodied in a series of London landscapes. The artist showed in his works how the conveyed reality can be changeable, impermanent, and conditional. Many art critics note the fact that Monet's impressionistic method does not convey objective reality and does not recognize the immutability of the qualities of objects. Monet’s art, like the light in his canvases, flickers and glides, filling the entire surrounding area with its warmth.
The artist Claude Monet, having heard about a certain painting dealer (Durand-Ruel), painted a series of not two or three, but eleven paintings, each of which depicted a foggy landscape with the London Parliament building on the banks of the Thames. All work, according to the author,
In general, Monet created at least 37 paintings on the theme of London fog, but painting a series depicting Parliament was difficult for him. As he said, the images eluded him, changing every now and then. Therefore, having started in 1901, he was able to finish it only by returning to his workshop in 1904.
What can be noted in each painting in the series? In an effort to convey all the density and materiality of the fog, the artist blurs all forms, simultaneously erasing boundaries (this is especially obvious at the point where the surface of the water and the sky meet). The boatmen in some of the paintings stand in their vessels, trying to make out through the thickness of the fog where they should go. The buildings appear as a silhouette, a blurry shadow that is devoid of materiality, and only its reflection in the water proves that this is a three-dimensional building, and not a ghostly mirage.
Thick and grainy strokes cover the entire canvas, which further enhances the effect of nebula and allows you to convey the whole play of light, which is completely different from other paintings. different paintings series. It is also interesting that the parliament building has somewhat unnatural proportions, which is most noticeably expressed in the elongation of the central tower, which is not typical for other paintings by the author. Perhaps this is a consequence of the processing of paintings in the studio, or perhaps a deliberate technique to create an ideal composition in the form that the artist sees it.
In the paintings of the “Parliament in London” series, Monet was able to create the most colorful texture, achieving a unified composition and conveying all the mood and all the images of the London fog.
Claude Monet's painting depicts the Palace of Westminster, the seat of the English Parliament. This beautiful building is located in London.
The artistic canvas amazes with its tenderness; it exudes a light morning coolness. A bluish haze of fog spreads over the River Thames. The sun is low and barely visible through the dense bluish clouds. Its gentle bright rays are already gliding across the smooth mirror of the water, painting the skies in delicate orangeish colors. The haze dissipates, the darkness recedes and the night is replaced by a new day.
The variety of colors amazes the imagination, forcing you to immerse yourself in the magical atmosphere of Foggy Albion. The ghostly, slightly lilac castle stands out brightly against the background of the river and sky, shining in the majesty of the sun's rays. A thick milky blue fog gently envelops sharp lines, softening the rough architectural lines. It’s as if the building’s royal crown crowns the river. Pointed turrets reach towards the sky, dissolving into the fog. Everything around you seems unreal magical world through the looking glass.
Shadows are not noticeable, outlines and boundaries are light and fleeting, even a fishing boat sailing on the waters of the Thames is barely visible, it glides easily through water surface and practically dissolves in a bluish fog. Muted and delicate shades of colors create an extraordinary lightness and fabulousness of the morning landscape.
The romantic landscape is light and airy, thanks to the extraordinary lighting depicted by the artist’s brush, we can enjoy the fleeting beauty, the wonderful moment and the mystery of the birth of a new day.
Claude Monet captured London and the Palace of Westminster as a majestic contrasting image, conveying to the smallest detail the character and mood of the still dormant foggy city and fleeting moment.
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“Monet is just an eye, but, my God, what a one!” Paul Cezanne
November 14, 1840 Oscar Claude Monet, a French painter and one of the founders of impressionism, was born in Paris. His famous water lilies, poppy fields, the Parliament building are among the most expensive and revered paintings in the world.
Monet is remembered in world history primarily as a revolutionary in art. He was the first to develop new technique letters, was the first to use the new theory of color, and was the first to depict an object several times under different lighting and weather conditions.
Painting “Impression. Sunrise" became the starting point for the work of all impressionists.
However, like most innovators, the artist’s life was not easy. Even in adulthood, he began to have problems with his vision, and by the end of his life he was completely blind due to double cataracts. But the legacy that Claude Monet left behind is considered the real heritage of all humanity and is scattered throughout the the best museums and galleries of the world.
On this day the editorial office website I decided to tell you about the history of creation best paintings the artist and gives his most famous quotes.
Terrace at Sainte-Adresse, 1867
Metropolitan Museum of Art, New York
One of Monet's early masterpieces, this painting is not only of artistic value, but also of biographical value. It was written at a time when the artist, suffering from lack of money, was forced to leave Paris and return to his father’s house. The two figures sitting in the chairs are Monet's father and probably his aunt. The artist’s cousin stands in front of them with an unknown person. During this period, Monet still strived for a strict construction of the painting: it is clearly written, carefully verified in composition and bears little resemblance to the soft, blurry tones of the works of a later period.
Houses of Parliament in London, 1904
Musee d'Orsay, Paris
Claude Monet painted a series of paintings of the Palace of Westminster, the building of the British Parliament, during his stay in London from 1900 to 1905. The paintings have the same size and point of view - Monet's window at St. Thomas's Hospital overlooking the Thames. They are, however, colored different times day and under various natural circumstances. During this period, he abandoned his early working practice of completing paintings on site in front of the object.
Field of poppies near Argenteuil, 1873
Musee d'Orsay, Paris
The painting was painted when Monet lived in a small town near Paris - Argenteuil. A beautiful garden and a small house - everything the artist could only dream of. The painting shows Monet's wife and son. Wanting to convey a sense of movement, Monet added a second pair of figures at the top of the hill. They are connected to the figures in the foreground by a barely noticeable path running through the grass. It seems that the figures of a woman and a boy seem to grow straight out of the field.
Breakfast on the grass, 1866
Pushkin State Museum of Fine Arts, Moscow
In 1865, Claude Monet was working near Paris on big picture"Breakfast on the grass." The finished canvas did not satisfy the artist, and he left for Paris, leaving it as collateral for the owner of the house in Chailly. Upon his return, Monet found the canvas badly damaged by dampness and, saving the painting, cut it into three parts. Then he finally decided to paint a picture on this topic, and, being in Chailly again in 1866, he created a smaller version of the large composition.
Lady with an Umbrella Turning Left, 1866
Musee d'Orsay, Paris
Claude Monet was called the "man of the sun" because bright light, which distinguishes most of his landscapes. The model for “Lady” was Suzanne Goschede, who became adopted daughter Monet after he married her mother. “The Lady” is distinguished by its striking pose, distinct image, and energetic style of writing. In a word, this is real Monet at his best.
Women in the Garden, 1866
Despite the fact that “Women in the Garden” is one of the largest paintings ever painted by the Impressionists (its dimensions are 255x201 cm), Monet worked on it in the open air, for which he had to dig a ditch in the garden and raise or lower the canvas using the collar. The model for all four female figures was his future wife, Camilla.
Mannport, 1883
Metropolitan Museum of Art, New York
The impressive chalk cliffs near Etretat, on the Normandy coast, have attracted artists since the 18th century. Monet visited here every year from 1883 to 1886 and painted more than 60 paintings here, six of which depict the same view of the largest arch, known as the Mannport.
Water lilies, 1916
National Museum of Western Art, Tokyo
From about 1905 until the end of his days, Monet concentrated entirely on water lilies. These are paintings in which water lily cups literally materialize on the surface of water that does not have a horizon line. In fact, these series of paintings, like any brilliant work of art, defy explanation. These are the works of a poet who has a keen sense of nature and is able to convey its beauty in his painting.
Other notable works
Coast near Sainte-Adresse, 1867
Lady in the Garden of Sainte-Adresse, 1867
Bridge at Argenteuil, 1874