DOCSLIB.ORG

Exploring Impressionism: the Art of Claude Monet Teaching Resources

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring Impressionism: the Art of Claude Monet Teaching Resources Museum of Fine Arts, Boston Outreach Programs Exploring Impressionism: The Art of Claude Monet Teaching Resources Overview: During Exploring Impressionism, students learned to identify elements that made the ​ ​ ​ Impressionist art movement distinct from what had come before in European art. Teachers and students can continue their exploration of Impressionism by writing letters to Claude Monet and casting their vote for a favorite MFA Impressionist artwork. Curriculum: Visual Arts, History, Language Arts & Literacy Grade Range: 1 – 5 ​ ​ Letters to Monet The American artist John Singer Sargent was interested in Impressionism and met Claude Monet in Paris around 1876. The John Singer Sargent Archive at the MFA includes 15 letters from Sargent to Monet that highlight their lifelong friendship. Read aloud one or two of Sargent’s letters to Monet and show the image of the handwritten letter (if available below). ● Letter from Sargent to Monet, July 1888 ● Letter from Sargent to Monet, 1891 ● Letter from Sargent to Monet, September 1, 1891 ● Letter from Sargent to Monet, 1894 ● Letter from Sargent to Monet, December 28, 1894 Introduce, or review, the basic components of a letter with your students and then ask them to write a short letter to Claude Monet. What would they tell him? What would they ask? Boston Loves Impressionism: Recount In 2014, the MFA asked the public to vote for their favorite Impressionist and Post-Impressionist artwork in the museum’s collection. There were 50 different artworks in the running and – after 41, 497 votes were cast – the following five came in at the top: 1. Houses at Auvers, 1890, Vincent van Gogh (4,464 votes) ​ 2. Water Lilies, 1907, Claude Monet (3,543 votes) ​ 3. Little Fourteen-Year-Old Dancer, original model 1878–81, cast after 1921, Edgar Degas (2,869 votes) ​ 4. Boulevard Saint-Denis, Argenteuil, in Winter, 1875, Claude Monet (2,839 votes) ​ 5. Meadow with Poplars, about 1875, Claude Monet (2,523 votes) ​ Image Credits: Boulevard Saint-Denis, Argenteuil, in Winter, 1978.633; Water Lilies, 19.170; Grainstiack (Sunset), 25.112 ​ ​ ​ ​ ​ ​ Museum of Fine Arts, Boston Outreach Programs Exploring Impressionism: The Art of Claude Monet Teaching Resources Look at the top five artworks with your class and discuss the ELBOW concepts (Everyday Life, Light, Brushstrokes, Outdoors, Weather) they can identify in each work. Afterwards, take a class vote to determine which of the top five artworks is their favorite! Videos ● Cleaning Monet’s Canvases by Harvard Art Museums ​ Andrea von Hedenström, paintings conservation fellow at the Harvard Art Museums, discusses the process of removing layers of varnish from Claude Monet’s paintings. ● A New Gallery Dedicated to Monet by Museum of Fine Arts, Boston ​ Get a look inside the MFA’s Monet gallery and hear curator Katie Hanson talk about Monet’s use of different motifs (snowy towns, water lilies, grainstacks, etc.) throughout his career. Books ● Katie Meets The Impressionists by James Mayhew (age range: 4-7) ​ ● Charlotte in Giverny by Joan MacPhail Knight (age range 8-11) ​ Image Credits: Boulevard Saint-Denis, Argenteuil, in Winter, 1978.633; Water Lilies, 19.170; Grainstiack (Sunset), 25.112 ​ ​ ​ ​ ​ ​.
Load more

Recommended publications
  • Poplars and Willows: Trees for Society and the Environment / Edited by J.G
    Poplars and Willows Trees for Society and the Environment This volume is respectfully dedicated to the memory of Victor Steenackers. Vic, as he was known to his friends, was born in Weelde, Belgium, in 1928. His life was devoted to his family – his wife, Joanna, his 9 children and his 23 grandchildren. His career was devoted to the study and improve- ment of poplars, particularly through poplar breeding. As Director of the Poplar Research Institute at Geraardsbergen, Belgium, he pursued a lifelong scientific interest in poplars and encouraged others to share his passion. As a member of the Executive Committee of the International Poplar Commission for many years, and as its Chair from 1988 to 2000, he was a much-loved mentor and powerful advocate, spreading scientific knowledge of poplars and willows worldwide throughout the many member countries of the IPC. This book is in many ways part of the legacy of Vic Steenackers, many of its contributing authors having learned from his guidance and dedication. Vic Steenackers passed away at Aalst, Belgium, in August 2010, but his work is carried on by others, including mem- bers of his family. Poplars and Willows Trees for Society and the Environment Edited by J.G. Isebrands Environmental Forestry Consultants LLC, New London, Wisconsin, USA and J. Richardson Poplar Council of Canada, Ottawa, Ontario, Canada Published by The Food and Agriculture Organization of the United Nations and CABI CABI is a trading name of CAB International CABI CABI Nosworthy Way 38 Chauncey Street Wallingford Suite 1002 Oxfordshire OX10 8DE Boston, MA 02111 UK USA Tel: +44 (0)1491 832111 Tel: +1 800 552 3083 (toll free) Fax: +44 (0)1491 833508 Tel: +1 (0)617 395 4051 E-mail: [email protected] E-mail: [email protected] Website: www.cabi.org © FAO, 2014 FAO encourages the use, reproduction and dissemination of material in this information product.
    [Show full text]
  • Claude Monet : Seasons and Moments by William C
    Claude Monet : seasons and moments By William C. Seitz Author Museum of Modern Art (New York, N.Y.) Date 1960 Publisher The Museum of Modern Art in collaboration with the Los Angeles County Museum: Distributed by Doubleday & Co. Exhibition URL www.moma.org/calendar/exhibitions/2842 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art, New York Seasons and Moments 64 pages, 50 illustrations (9 in color) $ 3.50 ''Mliili ^ 1* " CLAUDE MONET: Seasons and Moments LIBRARY by William C. Seitz Museumof MotfwnArt ARCHIVE Claude Monet was the purest and most characteristic master of Impressionism. The fundamental principle of his art was a new, wholly perceptual observation of the most fleeting aspects of nature — of moving clouds and water, sun and shadow, rain and snow, mist and fog, dawn and sunset. Over a period of almost seventy years, from the late 1850s to his death in 1926, Monet must have pro duced close to 3,000 paintings, the vast majority of which were landscapes, seascapes, and river scenes. As his involvement with nature became more com plete, he turned from general representations of season and light to paint more specific, momentary, and transitory effects of weather and atmosphere. Late in the seventies he began to repeat his subjects at different seasons of the year or moments of the day, and in the nineties this became a regular procedure that resulted in his well-known "series " — Haystacks, Poplars, Cathedrals, Views of the Thames, Water ERRATA Lilies, etc.
    [Show full text]
  • THE TRAVELS of MONSIEUR MONET a Geographical Chronology
    monet_reflexion_001-180gr.qxd_Layout 1 29.11.16 10:28 Seite 167 THE TRAVELS OF MONSIEUR MONET A Geographical Chronology hannah rocchi LE HAVRE a studio of her own, she had connections to local artists and made sure that her nephew could continue his drawing lessons in Le Havre. Monet’s caricatures soon Oscar-Claude Monet was born in Paris on November 14, attracted notice and were exhibited at the local sta- 1840, the son of Claude-Alphonse, a commercial ofcer, tioner’s, Gravier, who also sold paints and frames. This and Louise-Justine Aubrée. From 1845 on he grew up in brought his work to the attention of Eugène Boudin, the port city of Le Havre in Normandy, his father having found employment in the trading house of his brother- in-law, Jacques Lecadre. The Lecadres owned a house three kilometers away in the little shing village of Sainte-Adresse, which as a burgeoning bathing resort was much loved by the Monets. Claude attended the local high school beginning in 1851 and there received his rst drawing lessons. His earliest surviving sketches dating from 1856 show caricatures of his teachers and the landscapes of Le Havre. When Monet’s mother died, in 1857, Claude and his elder brother, Léon, moved in with their aunt, Marie-Jeanne Lecadre, who would become very important to him and support him in his pursuit of an artistic career. As an amateur painter with 167 monet_reflexion_001-180gr.qxd_Layout 1 29.11.16 10:28 Seite 168 a former partner in the business, who became Monet’s des Beaux-Arts, he chose the academy of Charles Suisse, new teacher.
    [Show full text]
  • Lasting Impressions
    The Movement The ideas of Impressionism can be traced to the 1860s when Claude Monet, Alfred Sisley, Pierre-Auguste Renoir and others pursued “en plein air” (painting in open air) together. John Rand’s radical invention of paint tubes allowed such a move. New bright, synthetic colors opened a new world for the painters. In 1874, an expanded group of these painters took the art world by storm. Ignoring the Académie des Beaux-Arts’ Salon de Paris, (the official exhibition and influencer of the art world), this ragtag bunch pooled their money and their works, rented a studio, and set a date. Calling themselves the Anonymous Society of Painters, Sculptors, and Printmakers, they opened against the annual Salon in May 1874. The art world, and our world, was forever changed. Originally a pejorative term, Impressionism shook the art world to its roots. Critics said the works seemed unfinished and were just “impressions.” What they did not understand was that cameras could now capture realism and the artist was freed to show us their own piercing perceptions. Impressionism is considered the first modern movement in painting. Over time, this style became widely accepted— even by the Salon—as the way to present modern life. Loose brushwork of unblended primary colors, short brushstrokes that often only outline that which they represent, and always, the impact of the light. Never simply black and white, shadows are rendered in highlights of color. Impressionists strove to depict a specific moment in time by capturing atmospheric conditions— moving clouds, a ray of sun, a sudden fall of rain.
    [Show full text]
  • Monets in the Art Institute Author(S): M
    The Art Institute of Chicago Monets in the Art Institute Author(s): M. C. Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 19, No. 2 (Feb., 1925), pp. 18- 21 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4113949 . Accessed: 10/03/2014 16:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Art Institute of Chicago (1907-1951). http://www.jstor.org This content downloaded from 198.40.29.65 on Mon, 10 Mar 2014 16:09:43 PM All use subject to JSTOR Terms and Conditions 18 BULLETIN OF THE ART INSTITUTE OF CHICAGO the proper blending of the colors by dis- tance, he met instant opposition and ridi- cule. With due regard to the fact that Monet and his followers were greatly influenced by Manet, it is granted that it was Monet who first attempted to record by broken color momentary phases of light and atmosphere. Light he considered the prime factor in every painting, since it originated the im- pression made on the eye.
    [Show full text]
  • Monet's Haystacks Reconsidered Author(S): Richard R
    The Art Institute of Chicago Monet's Haystacks Reconsidered Author(s): Richard R. Brettell Source: Art Institute of Chicago Museum Studies, Vol. 11, No. 1 (Autumn, 1984), pp. 4-21 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4115885 . Accessed: 06/02/2014 16:51 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies. http://www.jstor.org This content downloaded from 198.40.29.65 on Thu, 6 Feb 2014 16:51:55 PM All use subject to JSTOR Terms and Conditions Monet's Haystacks Reconsidered RICHARD R. BRETTELL Searle Curator,European Painting and Sculpture O N May 4, 1891, an exhibitionof 22 recent paintings by Claude Monet opened at the Galerie Durand-Ruel in Paris. In one small room, 15 paintings of the same subject were hung together. The "Series of Grainstacks (1890-91)," as they were called in the catalogue,1 was conceived at a decisive moment not only in Monet's own career but also in the history of French painting.
    [Show full text]
  • Joslyn Art Museum IMAGES – Claude Monet Claude Monet
    Joslyn Art Museum IMAGES – Claude Monet Claude Monet • Barnes Foundation, The. “Claude Monet. Camille at Work.” Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Claude_Monet_Camille_au_métier.jpg • Heilbrunn Timeline of Art History. “The Bodmer Oak, Fontainebleau Forest. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/cmon/ho_64.210.htm • Heilbrunn Timeline of Art History. “Garden at Sainte-Adresse. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/ho/10/euwf/ho_67.241.htm • Heilbrunn Timeline of Art History. “Haystacks (Effect of Snow and Sun). Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/lafr/ho_29.100.109.htm • Heilbrunn Timeline of Art History. “La Grenouillère. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/cmon/ho_29.100.112.htm • Heilbrunn Timeline of Art History. “The Monet Family in their Garden at Argenteuil. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/mane/ho_1976.201.14.htm • Heilbrunn Timeline of Art History. “Poppy Field, Argenteuil. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/lafr/ho_2001.202.5.htm • Heilbrunn Timeline of Art History. “Rouen Cathedral: The Portal (Sunlight). Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/cmon/ho_30.95.250.htm • Heilbrunn Timeline of Art History. “Water Lilies. Claude Monet.” The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/cmon/ho_1983.532.htm • Joslyn Art Museum. “Monet, Claude. The Meadow.” Joslyn Art Museum. http://tinyurl.com/JAMMonetMeadow • Joslyn Art Museum.
    [Show full text]
  • The Metropolitang0pi£S Museum of Art New York, N.Y
    \0/\Jrf/\J ARCHIVES F0R IMMEDIATE RELEASE The MetropolitanG0PI£S Museum of Art New York, N.Y. 10028 212 879 5500 EXHIBITION OF PAINTINGS BY CLAUDE MONET TO BE SHOWN AT METROPOLITAN MUSEUM Exhibition Dates: Saturday, April 22, through July 9, 1978 Press Preview: Wednesday, April 19th, from 10:00 AM to Noon. Monet's Years at Giverny: Beyond Impressionism, an exhibition of 81 paintings brought together from public and private collections in the United States and Europe, will open at The Metropolitan Museum of Art on April 22nd. Twenty-five of the paintings have been lent by the Musee Marmottan in Paris from the estate of Monet's son, Michel. The exhibition will trace the course of Monet's creative output from 1883, when he settled in the village of Giverny, in the Seine Valley forty miles northwest of Paris, to his death there in 1926. The paintings will be arranged chronologically to show Monet's search for an alternative to Impressionism during the 1880's, his "ser­ ies" paintings of haystacks and poplars of the 1890's, and finally the famous paintings of the water-lily pond. The exhibition will trace the Water Lilies series from their origins shortly after 1900 through the execution of the large, decorative works of the late teens and early twenties. Monet's Years at Giverny: Beyond Impressionism has been organized (MORE) EXHIBITION OF PAINTINGS BY CLAUDE MONET AT METROPOLITAN PAGE 2 by the Metropolitan Museum with the participation of The St. Louis Art Museum. It has been made possible in part by a grant from the Robert Wood Johnson Jr.
    [Show full text]
  • Water Lilies
    Ann Temkin and Nora Lawrence CLAUDE MONET water lilies The Museum of Modern Art NEW YORK Historical Note Claude Monet rented a house in Giverny, France, in 1883, purchasing its property in 1890. In 1893 he bought an additional plot of land, across a road and a set of railroad tracks from his house, and there embarked on plans to transform an existing small pond into a magnificent water garden, filled with imported lilies and spanned by a Japanese-style wooden bridge (fig. 1). This garden setting may well signify “nature,” but it was not a purely natural site. Monet lavished an extraordinary amount of time and money on the upkeep and eventual expansion of the pond and the surrounding grounds, ultimately employing six gardeners. Itself a cherished work of art, the garden was the subject of many easel-size paintings Monet made at the turn of the new century and during its first fig. 1 HENRI CARTIER-BRESSON decade. Beginning in 1903 he began to concentrate on works that dis- Untitled (Monet’s water lily pond in Giverny), c. 1952 pensed with the conventional structure of landscape painting—omitting Gelatin-silver print the horizon line, the sky, and the ground—and focused directly on the fig. 2 surface of the pond and its reflections, sometimes including a hint of the CLAUDE MONET pond’s edge to situate the viewer in space (see fig. 2).C ompared with later Water Lily Pond, 1904 3 1 Oil on canvas, 35 /8 x 36 /4" (90 x 92 cm) depictions of the pond (see fig.
    [Show full text]
  • Claude Monet Impressionism and the Late 19Th Century at Joslyn Art
    Claude Monet a biography Impressionism and the Late 19th Century at Joslyn Art Museum Claude Monet was born on November 14, significant features of the scene, and Monet considered Jongkind his true master. While Academic Art, with its classically world, including America. 1840 in Paris, France. Five years later, his Eventually Monet returned to Paris and enrolled in Charles Gleyre’s studio. proportioned figures, anecdotal subjects, Soon, however, a new wave of artists father moved their family to the French During this time, Monet lead excursions to the Fontainebleau Forest to paint outdoors. precise details, and flawless surfaces, became dissatisfied with Impressionism’s seacoast city of Le Havre. In 1900, Monet He focused on painting with rapid brush continued to be popular well into the twentieth lack of emotional depth and visual coherence described his childhood as “essentially one of strokes while concentrating on the effects century, Impressionism and, like Camille Pissarro, freedom. I was born undisciplineable. No one of light. Monet married Camille Doncieux emerged in the last third of developed stylistic was ever able to make me stick to the rules, in 1870 and they, along with their son Jean, the nineteenth century as variations which are not even in my youngest days.” relocated to London when the Prussian army the dominant style of the collectively called Post- During his teenage years, Monet decorated moved on Paris. avant-garde. Impressionism. At the his textbooks’ margins with sketches, and by the When the war ended, Monet moved his Fascinated with sense same time, a wider circle time he reached 15 he received commissions family to Argenteuil in France using the perception, Impressionists of painters adopted Claude Monet, French, 1840-1926 for his caricatures.
    [Show full text]
  • Oscar Claude Monet (1840 -1917) 19Th – 20Th Century, France Impressionist Painter Oscar Claude Monet “Clow-D Mow-NAY”
    Oscar Claude Monet (1840 -1917) 19th – 20th century, France Impressionist Painter Oscar Claude Monet “Clow-d Mow-NAY” Impressionist Painter Impressionist Period of Visual Arts B 14 November 1840; Paris, France D 5 December, 1926, Giverny France Claude Monet, like Gainsborough before him, showed early talent for drawing over daily schoolwork. He filled his school notebooks with sketches and caricatures of the local villagers and tourists, and he would sell these for extra pocket money. When he was a teenager, French artist Eugene Boudin (Boo- DEH) vacationed in Monet’s town of La Havre and taught the Monet how to paint with oil paints outside. After a brief detour in the French military in Algeria, Monet, at the behest of his aunt, entered art school. He hated it. Instead, with a few friends, began to experiment with different styles of painting and capturing light on a canvas. Few people wanted to purchase these experiments, but one family, the Hoschedés, loved them and hired Monet to create a number of paintings for their home. This commission was a welcome relief to Monet, who was married with a son by this time. Monet’s painting “Impression: Sunrise” bears the root of the name he and his friends adopted for their style. The name “Impression” was initially an insult coined by art critic Louis Leroy, but later borne by Monet and his friends as their self-described technique: catching an “impression” of a single moment. Financially, things where still rough for Monet and his family. His wife Camille had just given birth to their second son, and still felt weak and ill.
    [Show full text]
  • Shifting Pictorial Temporalities in Monet's Rouen Cathedral Kaleigh Paige Winchell Wayne State University
    Wayne State University Wayne State University Theses 1-1-2014 From Instantaneities To The tE ernal: Shifting Pictorial Temporalities In Monet's Rouen Cathedral Kaleigh Paige Winchell Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_theses Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Winchell, Kaleigh Paige, "From Instantaneities To The tE ernal: Shifting Pictorial Temporalities In Monet's Rouen Cathedral" (2014). Wayne State University Theses. Paper 323. This Open Access Thesis is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Theses by an authorized administrator of DigitalCommons@WayneState. FROM INSTANTANEITIES TO THE ETERNAL: SHIFTING PICTORIAL TEMPORALITIES IN MONET’S ROUEN CATHEDRAL by KALEIGH WINCHELL THESIS Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of MASTER OF ARTS 2014 MAJOR: ART HISTORY Approved By: ________________________________________________ Advisor Date TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii INTRODUCTION 1 CHAPTER 1 “STATE OF THE LITERATURE: HISTORICAL READINGS OF MONET’S ROUEN” 5 CHAPTER 2 “SERIALITY AND THE ROAD TO ROUEN” 21 CHAPTER 3 “MATERIALITY IN MONET’S CATHEDRALS” 35 CHAPTER 4 “THE NATURE OF TIME: INSTANTANEITY VERSUS DURATION” 48 CONCLUSION “MORE THAN A PAINTER OF MERE SENSATIONS” 66 ILLUSTRATIONS 70 APPENDIX A: CHROMATIC ISSUES IN REPRODUCTION
    [Show full text]