By Robert Hughes
A superbly illustrated hundred-year historical past of recent paintings, from cubism to pop and avant-guard. greater than 250 colour photographs.
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Extra info for The Shock of the New
He most likely received this concept from jap prints, that have been broadly circulated one of the artists in Paris and provided them with a circulate of motifs. He could have obtained it from Hokusai’s Hundred perspectives of Mount Fuji. as a minimum, in 1891 Monet exhibited his rst sequence of work: fteen perspectives of a bunch of haystacks. The rounded lumps of hay have been as just about shapelessness as whatever artifical might be. Monet’s selection was once like Courbet’s decision to color a far off package deal of sticks that he couldn't really establish. The haystacks have been impartial receptacles for mild (plate 75). yet that was once their aspect, for Monet desired to convey fteen of the in nite forms of gentle e ect which may be drawn from a motif at di erent occasions of day, in di erent weathers. each one haystack was once intended to be obvious as a pattern of whatever either common and unending, that can blot up all of the inspection and discrimination a human eye can convey. “Eternity in a grain of sand, and Heaven in a flower. ” Having invested haystacks with magical color, as if they have been stained-glass home windows, Monet then went directly to depict a Gothic cathedral as if it have been a haystack. In 1892, he rented a room contrary the west entrance of Rouen Cathedral. He then made a few twenty work of a similar façade, below di erent stipulations of sunshine. definitely, he had no non secular cause in portray the construction. Monet was once no longer a pious Frenchman. by no means had so traditionally venerable a constitution been painted so resolutely within the current stressful, or so well-known a spiritual item been taken care of in so secular a fashion. actually there's nonetheless anything a tri e disquieting approximately Monet’s choice to regard Rouen like a poplar, a haystack, or a patch of garden, thereby implying that awareness is extra very important than any faith. The Cathedrals got here out runny and pasty with color, like gritty, melting ice cream (plate 76). Their density dispels surroundings: the façade isn't any longer bathed in air, yet encrusted in paint. by way of operating in sequence, Monet declared that his topic used to be no longer a view however the act of on account that view – a means of brain, unfolding subjectively, by no means xed, regularly turning into. This research couldn't be performed with antagonistic or disagreeable subject-matter; the distraction might were too nice. The motif needs to b e possessed. The meditation needs to commence in excitement, now not discomfort; on the centre of the self, no longer at its disturbed edges. “Art is a luxury,” Gustave Flaubert as soon as remarked. “It wishes white, calm arms. ” one of many logos of this mind set between painters is the backyard Claude Monet made close to the village of Giverny, fty miles from Paris. He lived there from 1883 until eventually his dying in 1926, and painted what he owned. seventy five Claude Monet Haystacks 1891 Oil on canvas 25½ × 39¼ ins: artwork Institute of Chicago 76 Claude Monet Rouen Cathedral, Morning 1894 Oil on canvas forty-one½ × 28½ ins Louvre, Paris (photo Giraudon) Monet’s backyard built in phases. First there has been the ower-garden in entrance of the home. In 1893, whilst he was once prior fty, he begun paintings at the moment half, a watergarden around the street, fed by means of a bit tributary of the Seine, the Ru River.