Before long, Monet was attracted by the creation of the Dutch painter John Basor de Joan Kang. The painter painted bridges, rural scenes, river banks and dilapidated thatched cottages with more turbulent, exciting and vivid brushstrokes than his contemporaries in France. Monet obtained basic artistic accomplishment from Budan and Joan Kang.
Monet came to Paris in 1859, where he met Gustav Courbet (18 19- 1877) and Jean batiste Camille Corot (1796-65438). He carefully appreciated their painting strength and used their achievements at an amazing speed. But Monet is not their follower, but a rebel. Monet didn't want to finish his painting course in college. He only stayed in the studio of Gray College in 1863 for a while. When he met Basil, Alfred Sisley (1839- 1899) and Pierre Auguste Renoir (1841-19). When Gray College's studio closed, he took his friends to Sheyi, a small village near Fontainebleau Forest, where he drew outdoor sketches.
When Monet left the studio of Gray College, he did not enrich his rather poor artistic accomplishment, but devoted himself to the pure and intuitive observation of natural life with fiery faith. He didn't buy any theories at all, but developed his own painting method.
Monet was indifferent to modeling all his life, but he cared about the correct hierarchy. It is precisely because Monet is incompatible with modeling that he can easily show what he really sees, but it is precisely because of this that he cannot show the illusion and realism of things.
Monet is not only satisfied with being able to draw what he sees and draw in the way he sees; He wants to create a unique effect and achieve a purpose that seems impossible in painting. He likes everything that dazzles people. The rivers, sky, houses and trees he described are full of extraordinary sense of life. His heart is full of uncontrollable excitement; From his point of view, he is a realist, but from his nature, he is a visionary.
1864, Monet completed The Seine Estuary of Onfeller. This painting was exhibited in the official salon of 1865 and was warmly welcomed. Commenting on the painting, critics said, "The harmonious colors made up of tones ... can attract the audience's bold feeling." This shows that the official can fully understand that people like this painting very much. Oil painting shows rich midtones and that dim and calm color scale. The deep space has been successfully treated through the river bank line, which traditionally marks the long-term view. In this painting, for Monet's own things, it is the "bold feeling that can attract the audience" expressed by the brush strokes of foreground water and clouds; These strokes enhance the traditional effect of the picture.
1866, Monet completed and exhibited the portrait of his future wife "Lady in Green-Kamei Instrument" in a few days. This portrait caused controversy, but on the whole it was successful; Some people even compare it with MANET's portrait. This portrait fully shows Monet's personality: his indifference to modeling, the momentum of this woman and the trembling light on her skirt give the whole painting special persuasion; This creates a sense of motivation and vividness.
In the same year, Monet exhibited a painting "Saint-Germain Othello Church", which is of greater significance to the development of his style in the future. He painted this oil painting on the balcony of the Louvre. This painting is to show the reflection on the leaves. Side-by-side strokes vividly show the vibration of the air, and the combination of these strokes achieves the vivid effect of green, yellow, green and black shadows. The pen method here saved the impressionism, but the color was not transparent enough, and even the blue shadow was still turbid; They are painted black. Compared with the trembling leaves, churches and houses are too dense. There is no overall image in the painting, but the painting of leaves reveals a little Monet's ideal color to us.
"Woman in Green-Kamei Instrument" is a figure painting completed in the studio; Ottlova Church in Saint-Germain is a landscape painting under external light. The painting "The Woman in the Garden" combines these two observation methods. The pictures here are basically arranged according to a photo, which shows that Monet doesn't mind letting the composition obey the contingency of natural scenery. Photos should have reminded Monet of the far-reaching influence of space, but Monet didn't mind. What interests him is only the plane and color contrast. It is precisely because the characters in this painting have no three-dimensional sense and no ups and downs that colors can show their brilliance and diversity here. The floral decoration on women's clothes, the flowers on the lawn, the leaves protruding from a large area of thick green, the sky exposed from the cracks in the leaves and the light penetrating the shadows all create a colorful mosaic effect. But this oil painting lacks tonal effect: light and shadow fall on the same plane occupied by the characters, so the light cannot penetrate the human body and become a tangible entity. The inherent color of large films has played an excessive role. All these together are more a formula than the real expression you see, but this formula is an unprecedented bold plan. Once the formulation of this program disappears, the light will penetrate into the alto, life will penetrate into every stroke, and the overall unity will be formed. At that time, art will become colorful and impressionism will be fully mature.
1872, Monet created the world-famous Impression Sunrise. This oil painting depicts watching the sunrise through the mist in Afar Port. The painting strokes that directly poke the main points depict the unclear background in the morning fog, and various colors give the water infinite brilliance, but the inaccurate painting method makes those boats faintly visible. This painting was exhibited in the 1 th Impressionist Artists Exhibition, which opened on March 25th, 874. This painting is the most typical of Monet's paintings.
Monet is undoubtedly a creative genius in visual observation. He is good at finding a phenomenon that has never been found before from the relationship between light and color. He focused all his attention on light and color, and found the most suitable form to express the brightness difference between light and color. He abstracted the brightness difference between light and color from various other factors in painting and raised it to an unattainable height. Monet's visual observation is gifted, creative and extraordinary, but what is behind this observation? What does what he saw have to do with what he felt and imagined?
During the period of 1874-78, some of Monet's paintings in Tey and Aginte can answer these questions. Such as 1872' s "Agintei Sailing Boat". In this painting, the intermediate tone replaces the color contrast, but not by mixing colors, but by forming a comprehensive effect of light with color decomposition or combination. Black no longer appears in the painter's palette, but only creates bright and dark spectral colors, forming a three-dimensional shape. The unified color style naturally permeates the whole picture: distant view and close view, objects, water and sky, which transform all these into a wonderful and moving scene, and a seamless and non-hierarchical spatial perspective connects this distant view and close view into a whole. The shades of purple and yellow are interwoven with the blue of the river and the sky. The tonal differences of these colors clearly distinguish these natural phenomena, and the mirror-calm river seems to be the foundation of the sky. The perspective of geometry is forgotten; Instead, the air is constantly moving. Each color looks soft individually, but their whole is strong; What appeared in front of us were the fireworks on the horizon and the picture of the day disappearing. A sailboat quietly stopped in the gray half shadow. This is the intuition of a visionary. In this smoky, sunset and melancholy atmosphere, Monet seems to be the life of light and directly participates in its gradual demise. This is the harvest period of Monet's creation, and he created the legend of color.
magnum opus
& lt& lt sunrise. Impression >>
& lt& lt Silver Teyi Bridge >>
& lt& lt Tai Caliso's sailboat, silver >: >
& lt& lt Rouen Cathedral >>
& lt& lt water lily >>
Saint lachal railway station
1877 painted "Saint Lachal Railway Station" is a picture of Paris Railway Station, which is an actual "impression" of a daily life scene. Monet was fascinated by the effect of light passing through the glass ceiling to steam clouds, and the shape of locomotives and carriages emerging from chaos. Monet thinks that the magical effect of light and air is the most important. He skillfully balanced the tone and color of the picture. This painting shows strength, space, contrast and movement well.
1883, Monet lived in Verne, where he built a small garden for painting. He planted many lotus flowers in the pond, which led him to discover the theme of realizing his plan: painting some hard bodies, water and air, and trying to blend them together. The resulting group paintings "Water Lily" and "Fairy Pool, Rose Harmony" are one of this group of paintings. This painting reflects Monet's desire to integrate things with me, but it is not sad.
Everyone who studies the development of Monet's creative activities will find that if the initial fate contributed to Monet's development trend, then he later created his own destiny. Monet became the founder of Impressionism and was recognized by friends as the "head of the school" because of Monet's unshakable strong will. As we all know, impressionism means a change in the way of feeling and observation. It changed not only painting, but also sculpture, music and literature. Even today, it has not lost its influence and is still changing us.