Artist: Claude Monet
Title: Saint-Lazare Station
Date: 1877
Location of Origin: France
Medium: Oil on canvas
Style: Impressionism
Painted in 1872 by Manet, Le Chemin de fer (The Railroad), also called La Gare Saint-Lazare (Washington, National Gallery of Art) still fascinates both historians and art critics. This is one of 12 paintings of the station by Monet. Breathtaking grace and detail, especially considering the subject. Following this, most of Monet's works focused on natural scenes.
"By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others.
Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
Monet showed the way, even if the development of the others seemed to diverge from his.
"There is still another reason for Monet's outstanding position as an Impressionist. If we compare his paintings over a short period with the paintings of the others, we see that while the others painted within a restricted range of ideas and even of feelings, so that the Renoirs of the period 1873-76 are characterized by the joyousness in a collective world of recreation described earlier, Monet, with his powerful, ever alert eye, was able to paint at the same time brilliant pictures and also rather grayed ones in neutral tones. He was more reactive, he had more of that quality that psychologists of that time called "Impressionability." That is to say, he was open to more varied stimuli from the common world that for these painters was the evident source of the subjects of their paintings.
"Monet could appear variable at any given moment, producing many surprising interpretations of the common matter. He altered his technique according to his sense of the quality of the whole, whether joyous or somber, that he wanted to construct in response to the powerful stimulus from the object that engaged him in the act of painting. Similarly, over the course of years, his art underwent a most remarkable general transformation.
The early work of Monet appears as a painting of directly seen objects characterized by great mobility and variety. His art is a world of streets and harbors,
beaches, roads, and
resorts, usually filled with human beings or showing many traces of human play and activity. In the late work, however, Monet excluded the human figure. There are practically no portraits and no figure paintings by Monet after the middle 1880s and few between 1879 and 1885. From that period, we can count all his figure paintings on one hand. He also gave up still life and painted no genre groups. He restricted himself to an increasingly silent and solitary world.
"When Monet traveled to Venice and London, he pictured those great cities from a distance, in fog or sunlight, without the clear presence of human beings and with no suggestion of their movement through that space. He tended, moreover, to shift from the painting of large to small fields; and, whereas at first the large fields were painted on small canvases, later he painted a small field - water in a nearby pool or a few flowers in his garden - life-size and seemingly larger than life, as if he wished to give a maximum concreteness and the most intimate presence to a small space that, although only a segment, was for him a complete world.
He moved in his art from a world with deep, horizontal planes in long perspectives - the paths of carriages and traffic - to a world in which the plane of the water or the ground seen from close by has been tilted upward and has become vertical, like the plane of a picture or mirror. The quality of landscape as the extended human environment, the old traversability of space, has been minimized in the later work.
Monet never painted a nude, and one may suspect that his vast world of nature and the theme of water played in his art the role that the fantasy about women or children or mothers played in the imagination of other artists. All his variety, from the stillness of the lilly pond to the awful turbulence of waves beating on the rocks, may have to do with the feelings or passions that in other artists can be recognized in their mythology and subjects or through a fanciful imagery of human figures."
Gardens were a recurrent theme for Monet in the 1870s, and paintings of his own garden dominate his later work. In 1890 he purchased a house in Giverny that he had been renting for seven years. He began to develop its gardens, introducing an ornamental lily pond and a Japanese-style bridge. These and other features of his idyllic estate were the subject of a steady output of large decorative paintings. He generally began by painting outdoors, but would then return to his studio to work and rework his canvases, which had become even more layered and complex than before.
The culminating honor of Monet's career was the installation in the Orangerie des Tuileries, a museum in central Paris, of monumental paintings of water lilies, on which he had worked for more than a decade preceding his death. In these works reality seems to dematerialize as he expresses the interplay of color, light, foliage, and reflection in a tangled mass of brushstrokes. With his eyesight beginning to fail in his final years, Monet explored his subject so closely and thoroughly that the whole dissolved into its parts and began to resemble abstract art.
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