The Life, Times and Work of Claude Monet

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The colour reproductions are a strong point of this Ebook with eight duplicate reproductions - "Camille", 1866, "Women in a Garden", 1866-67, "Boulevard des Capucines", 1873, "Garden at Vétheuil", 1881, "Pink Poplars", 1891, "Houses of Parliament", 1900-01, "Rouen Cathedral in the Morning", 1894, and "Nymphéas", 1920-22. The quality of the colour reproduction is good although there are the expected difficulties with ephemeral works such as "Rouen Cathedral in the Morning" and "Rouen Cathedral", both 1894, "Waterloo Bridge, Grey Weather", 1900, "Houses of Parliament", 1900-01, and "Nymphéas", c. 1905.

The book includes a Chronology, four chapters addressing `First Impressions', `Upturns and Upset', `Lyrical Light' and `Water Lilies', and an Index. The selection of works is broad, including famous paintings such as "The Terrace at St Adresse", 1866, "Impression, Sunrise", and "Jean on a Wheeled Horse", both 1872, "Boulevard des Capucines", 1873, which is reproduced on the front cover, "La Promenade", 1875, "Garden at Vétheuil", 1881, "Nymphéas", 1888, "The Poppy Field" and "Poplars on the River Epte", both 1891, "The Japanese Bridge at Giverny", 1892, "Haystack", 1893, and three versions of "Nymphéas", from c. 1905, 1918-21 and 1920-22.

There are other works not as well known, including "Still-Life with Bottles", 1959, "Spring Flowers", 1864, "Déjeuner sur l'Herbe", 1865-66, "Camille", 1866, "Stormy Sea at Etretat", 1868, "La Grenouillère", 1869, "The Artist's Garden at Argenteuil" and "Zuiderkerk, Amsterdam", both 1872, "The Luncheon" and "Gladiolas", both 1873, "La Japonaise", 1876, "Europe Bridge, Gare Saint-Lazare", 1877, "Still Life with Apples", 1880, "Matin à Etretat", 1883, "View from Cap Martin" and "Palm Trees at Bordighera", both 1884, "Etretat, The Manneporte", 1885, "Tulip Field in Holland", 1886, "Pink Poplars", 1891, "Cliffs near Dieppe", 1897, and "The Garden Path of Giverny", 1902.

The author, K. E. Sullivan, is good at describing the artist's formative years and the French artistic environment of the time. The text and relevant illustrations are clearly linked, and Sullivan includes statements by the artist himself and other art critics. As a result, the character of Monet is presented very clearly.

In summary, this is an excellent introduction to Monet's life, times and works, and offers a good foundation for readers wishing to study these topics in greater depth.

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