Claude Monet’s “The Japanese Bridge,” 1922-1924 By Philip Kennicott Philip Kennicott Art and architecture critic Email Bio Follow Art and architecture critic April 24 at 1:16 PM SAN FRANCISCO — When we think of late Monet, the grand old man in his garden at Giverny, there are two facts that seem to structure everything: He was having problems with his eyesight, and he was single-mindedly pursuing his final masterpiece, a cycle of water lily paintings known as the “Grandes Decorations,” which...
“Weeping Willow,”1918-1919 It has been fashionable for decades to think of Monet’s last years as a cauldron of abstraction, a period in which he explored a freedom of form that would inspire later painters of the 20th century to break definitively from making pictures of real things in the real world. But this show complicates that assumption, making it difficult to argue that Monet radically reinvented himself at some particular moment in the last 10 or 15 years of his life.
It’s also surprising, and satisfying, to see a multiplicity of Monet styles throughout his late years, including a range of textures on the canvas. He paints thin and he paints thick, sometimes leaving the surface looking dry, like a fresco, while in other works the surface is clotted and goopy, and the paint becomes almost sculptural.
His style didn’t seem to change much after his partially successful surgery, either, and though he complained of making work that wasn’t up to his standards , he held on to, and in some cases sold, works that are shockingly aggressive in their tonal schemes.
He didn’t have Netflix he coped the best that he could with what he had.
I'll go with 'bourgeois homebody' just because I feel fancy when I say 'bourgeois'
TJ Clark wrote a book more or less about this already you should read it
Nearsighted, Monet was nearsighted
yes
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