Painting Analysis : Claude Monet

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One does not simply come to the city of Philadelphia without paying a visit to the Philadelphia Museum of Art. Visited by more than 800,000 people each year, the museum holds more than 227,000 art pieces and objects, including lot of European and American paintings, drawings, prints, and decorative objects. I visited the museum a couple weeks ago with the intention of finding an art piece that I can connect with to write a paper about it. It took me a while to actually find the piece that attracted me at the first glance- The Sheltered Path, an oil-canvas painting by the artist Claude Monet. Housed permanently on the first floor of the museum in Gallery 152 (Toll Gallery) which housed a collection of art pieces with the common theme: European Art from 1850-1900, the painting attracted me through its vibrant colors and its simplistic, yet meaningful beauty. The gallery also had other paintings by the same artist along with other artists who had similar painting styles. I chose this piece to write my paper on because I felt like I could relate to this painting because I could imagine myself being the main character in the story in the image. Claude Monet is also one of my favorite artists because I love the natural beauty of his impressionistic paintings. Born on November 14th 1840 in Paris, Claude Monet is mostly known as the French impressionist painter whose painting "Impression, Sunrise" (1873) started an entire art movement called Impressionism that focused more on the form, light, and color rather than realism. A brilliant artist, yet he was plagued with spells of depression and self-doubt. In 1873, after years of being financially in-trouble, one of Monet’s paintings titled "Impression, Sunrise" which depicted the city of ... ... middle of paper ... ...to find, on their own, the right note. And they have succeeded.” Here, it can be seen that Ajalbert was praising the Impresionists artists for embracing their individuality and abandoning conventional methods. An artist named Odilon Redon did not support the Impressionist movement because he stated “I refused to board the Impressionist ship because I found the ceiling too low. . . . Real parasites of the object, [the Impressionists] cultivated art solely on the visual field, and in a way closed it off from what goes beyond that and what can give the humblest sketches, even the shadows, the light of spirituality. I mean a kind of emanation that takes hold of our spirit and escapes all analysis” in his book To Myself: Notes on Life, Art and Artists in 1986. Redon did not agree with the techniques of Impressionism because he felt it did not encompass all that was art.

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