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CLAUDE MONET (1840-1926)

$1,950,000

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div> <div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div>
Étretat, Le Cap d’Antiferum 188510 1/2 x 13 3/8 Zoll(26,67 x 33,97 cm) Pastell auf Papier, auf Karton aufgezogen
Provenienz
(möglicherweise) Mme Materne, um 1894
I. Stchoukine, Paris
Hôtel Drouot, Paris, 24. März 1900, Los 36
Olivier Vainsère
Galerie Lorenceau, Paris
Wildenstein & Co., Paris
Alice Tully, erworben von oben genanntem, 1973
Christie's, New York, 10. November 1994, Los 138
Neffe-Degandt Gallery, London
Privatsammlung, erworben von oben genanntem, 2002, seitdem durch Erbschaft
Privatsammlung, Kalifornien
Ausstellung
East Hampton, New York, Guild Hall, The Sea Around Us, August – September 1953, Nr. 45
Washi...Mehr.....Washington, D.C., Adams Davidson Galleries, Die französischen Impressionisten und ihre Nachfolger, Dezember 1971 – Januar 1972
London, Royal Academy of Arts; Williamstown, The Sterling and Francine Clark Art Institute, Der unbekannte Monet: Pastelle und Zeichnungen, März bis September 2007, Nr. 139
Literaturhinweise
Daniel Wildenstein, Claude Monet, Catalogue raisonné, Supplément aux peintures, dessins, pastels, Lausanne, 1991, Band V, Nr. P 80, S. 171 (abgebildet)
James Ganz und Richard Kendell, The Unknown Monet: Pastels and Drawings, Williamstown, MA, 2007, Nr. 139, S. 158–159 und 302 (abgebildet auf S. 158)
...WENIGER.....
Da die Idee, Zeichnungen, sei es mit Bleistift oder Pastell, zur Vorbereitung eines Gemäldes zu verwenden, im Widerspruch zu Monets öffentlich bekanntem Schaffensprozess stand, neigte er dazu, ihre Bedeutung in seinem Werk herunterzuspielen. Nach seinem Tod kamen jedoch acht Folios mit über vierhundert Zeichnungen sowie zahlreiche Pastellzeichnungen ans Licht. Dieses praktische und leichte Medium ermöglichte es ihm, mit Komposition und Farbe zu experimentieren und Ideen für seine Ölgemälde schnell zu entwickeln. Er verwendete Pastellfarben auch, um fertige Bilder zu schaffen, wie in diesem Beispiel.


 


In den 1880er Jahren kehrte Monet an die Küste der Normandie zurück. Wie schon Delacroix und Courbet vor ihm fand er Inspiration in dem funkelnden Licht und den berühmten Kalksteinfelsen. Er arbeitete nicht nur direkt mit Ölfarben, sondern folgte auch Boudins Beispiel und verwendete schwarze Kreide und Pastellfarben, um die Auswirkungen von Licht und Farbe auf Himmel, Meer und Land zu studieren.


 


In dieser Meereslandschaft bei Etretat, zwanzig Meilen nördlich von Le Havre, hat Monet eine ungewöhnliche Komposition gewählt, indem er die Landschaft in der Mitte durch die schwindelerregenden Klippen teilt; die linke Hälfte des Bildes besteht aus erdigen Grün- und Brauntönen, die rechte Hälfte aus einem sonnenbeschienenen Meer, das sich im Himmel auflöst, wobei der Horizont nur durch einen leichten Kohlestrich angedeutet wird. Dieses Bild unterscheidet sich deutlich in seiner Atmosphäre von einem anderen Pastellbild der nahe gelegenen Porte d'Aval aus derselben Zeit, dessen späten Nachmittags-Himmel die Bandbreite des Ausdrucks zeigt, die mit Pastellfarben erreicht werden kann. Im Sommer 1885, dem Jahr, in dem er dieses Pastellbild schuf, hatte Monet städtische Motive weitgehend aufgegeben und sich mehr den Naturphänomenen zugewandt. Er malte viele Ansichten entlang der Küste unter verschiedenen Lichtverhältnissen. Wie im Werkverzeichnis zu Monet vermerkt, handelt es sich bei diesem Pastell nicht um eine Vorstudie für ein Ölgemälde, sondern um eine völlig eigenständige Komposition. Es zeigt, wie gut der Maler die Vielseitigkeit des Mediums verstand und schätzte, als er versuchte, solch wechselhaftes Wetter einzufangen.
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