File:Manet and the French impressionists- Pissarro-Claude Monet-Sisley-Renoir-Berthe Morisot-Cézanne-Guillaumin (1910) (14783077792).jpg

Identifier: manetfrenchimpre00dure (find matches)
Title: Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin
Year: 1910 (1910s)
Authors: Duret, Théodore, 1838-1927 Flitch, J. E. Crawford (John Ernest Crawford), tr
Subjects: Manet, Edouard, 1832-1883 Painting Impressionism (Art)
Publisher: Philadelphia : J. B. Lippincott company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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e of their value. Monets series include very varied motives. After Les Meulesand La Cathedrale he painted Les Peupliers. While walkingamong the meadows at Giverny, he saw a long and sinuous lineof poplars, which, when seen from certain points of view, sil-houetted themselves against one another. He proceeded to paintthem. He discovered that the arrangement which the Givernypoplars gave him was analogous to one which Hiroshige hadpreviously met with in Japan—the line of cedars which he hasreproduced in one of his Fifty-four Views of Tokaido. Monetmust have been struck by the analogy between the Giverny pop-lars and the cedars of Hiroshige—a curious case of the work ofone great artist influencing another through a suggestion ofnature. He also painted a series of Une Matinee sur la Seine: an armof the river shrouded in mist and bordered with large, bushy trees,reflected in the calm water. This was followed by the Nympheasseries. At the end of his garden at Giverny, at the edge of the
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CLAUDE MONET 145 meadows, Monet had made a pond, which he had sown withwater-lilies. The flowers and their leaves, bosomed on the water,provided him with a new motive, which was completed by thetrees bordering the pond and the little bridge which spanned it.Following upon this, he made a brief visit to Vetheuil, wherehe had so long lived and painted, in order to execute anotherof his series. He took up a position in front of the village, onthe opposite bank of the Seine. The water of the river occupiesthe foreground of these pictures, then the village with its churchrises above the bank, which forms the bounding line of thehorizon. In two following series, Vues de la Tamise and Effets deau(the latter painted from the pond in his garden at Giverny),the characteristics of his individuality are carried to the extremepoint of their development. Hitherto in his pictures the impres-sion, the fugitive effect, the ephemeral aspect had formed primarilythe envelope, the investiture, of an under

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