“Claude Monet: The Truth of Nature” Denver Art Museum
October 21 - February 2, 2020
Tickets $27. each in advance
100 West 14th Avenue Parkway, Denver, CO
“The Water Lily Pond” 1918
Taos Water Lily Pond (photograph)
“Announced by all the trumpets of the sky,
Arrives the snow, and, driving o'er the fields,
Seems nowhere to alight: the whited air
Hides hills and woods, the river, and the heaven,
And veils the farm-house at the garden's end.”,
excerpt from ‘The Snow-Storm’ 1904 Ralph Waldo Emerson.
“The Houses in the Snow, Norway” 1895
The Denver Art Museum is featuring “Claude Monet: The Truth of Nature” October 21, 2019 - February 2, 2020. It's during winter that Monet was born November 14, 1840 and when he dies December 5, 1926. The curators unknowingly create the case that it’s a landscape covered in snow when Monet rises, rests and learns what winter has to teach him.
"Grainstacks, Snow Effect" 1891
As a former Associate Faculty member at School of the Museum of Fine Arts, Boston, there were many opportunities to see the 40 paintings by Monet in the MFA. In attending the DAM exhibition of Monet my purpose was to visit the many 'old friends' on view, and be inspired. As we planned our trip to Denver the question arose (from my partner Holly Sievers), “What are you planning to look for in the Monet paintings?” Color, I’m looking for his use of color. Unexpectedly there was so much more to learn here than only color.
"The Pointe du Petit Ailly in Gray Weather" 1897
"Haystacks, Midday" (detail)
"House of the Customs Officer, Varengeville" 1882 & "The Coastguards Cabin" 1897
"House of the Customs Officer, Varengeville" 1882
The exhibition struck me unaware, my expectations were of something quite different. The curators have painted a picture of Monet in full plain-air mode rather than a complete overview. There are no representations of portraits or figures, mostly the ones included are from a distance. Figures in these paintings are part of the landscape, rather than the subject matter.
"Hyde Park, London" 1871
"The Beach at Trouville" 1870
"La Pointe de la Heve at Low Tide" 1865
Claude Monet is best known for his paintings of water lilies, during a 24 year time span approximately 250 were painted. He was also known for paintings of flowers in various sunlight, paintings of the Houses of Parliament, the haystack paintings, Rouen Cathedral, poplar trees, Waterloo Bridge, Venice, the Normandy Coast, his wife Camille, and the gardens of Giverny. These are many of his most iconic subjects, along with how it all changed throughout the daylight.
"View of Bennecourt" 1887
The Venice paintings
"The Rock Needle Seen Through the Porte d'Aval" 1885-86
The exhibit begins on the second floor, at the top of the first flight of stairs. Just outside the entry way you are greeted by “The Water Lily Pond” 1918, full of golden sunlight. As you enter, at first glance it appears that there aren’t any more of the iconic paintings on exhibit. Half way through my viewing, (or so I thought), I became anxious, quite anxious looking for the masterworks that I’d come to love. As you make your way through the gallery sections there unfolds a range of stylistic approaches to impressionism, complete with all of the influences of Monet’s peers (Whistler, Sargent, Renoir, Manet, Sisley, Cezanne, Seurat, Morisot, Sisley, Signac, Degas, Pissarro, etc). Eventually, at the far back stairwell a guard greets you, welcoming you to enjoy the rest of the exhibition, downstairs. Or simply put, “You didn’t think we’d leave out more of the water lilies did you?” Here it is, and truly if the paintings on the first floor were the entire exhibit I would have been thrilled to see this section alone. Upstairs they’ve given you a taste of Monet, how he learned and what he got out of learning (and what you can learn) from other plein-air painters and artists of his time. Downstairs, is where you’ll find the masterworks, the paintings I expect to see when I think of Monet, the power and strength of a master painter.
Stairway to second level at DAM, photograph
"The Geese" 1874
"The Geese" 1874 (detail)
"The Geese" 1874 (detail)
Entering the lower (first floor) gallery space, the temptation is to leap and bound towards the paintings of Haystacks, (or on the opposite wall, the paintings of Poplar Trees), but this exhibit requires one thing at a time. Slow down here, turn to the right, turn right again and again, let the beauty of this exhibit surround and envelop you. Look closely at “Peony Garden” 1887 (go back to it later after viewing the water lilies), ask yourself, where did he begin the painting, where did he finish it, how did he know it was finished. Using your phone camera take a photo of the trio of “Morning on the Seine, Giverny” paintings, now flip them sideways, turn them upside down. He creates magic, complete balance, with utter confidence.
Haystacks all in a row
"Haystacks, Midday" 1890
Poplar trees all lined up
“Peony Garden” 1887
“Peony Garden” 1887 (detail)
Reflections of water and light
“Morning on the Seine, Giverny” 1897
“Morning on the Seine Near Giverny” 1897
"The Seine at Giverny" 1897
Soon you’ll arrive at “Rose-Arches at Giverny” 1913, this painting is the keystone to the exhibition. Take a photograph of it and flip it upside down, it’s perfect either way. You should recognize Waterloo Bridge, Rouen Cathedral, Needle Rock, Venice, Water Lily, or the Haystacks paintings all coming together in this powerhouse of a painting, it is Monet's grand Arc de Triomphe. Here in this one painting you’ll see a bit of what he’d learned earlier and a bit of what is still to come.
Claude Monet finishing 'Rose Arches at Giverny' (stock photo)
"Rose Arches at Giverny" 1913
“Water Lilies and Japanese Bridge” 1899, is breathtaking, there are no words, you can see it in your mind, but you will be in awe seeing it here in front of you. The surprise star is “Water-Lilies” 1914-15, pink, red and orange leap out as if frogs or carp had just nudged them at you with a sudden shove from below. Along with “Water Lilies” 1914-17 these are as fresh and contemporary as a painting can possibly be, so very timeless. After seeing these, it became important to go back and see it all over again. There are many lessons here before you. Skimming should not be an option. I went back, with much gratitude to the guards at DAM for allowing me a bit more time. My wife would say that I was practically screaming with joy as I recited connections (out loud) over and over again.
“Water Lilies and Japanese Bridge” 1899
“Water-Lilies” 1914-15
“Water-Lilies” 1914-15 (detail)
Taos Water-Lilies, detail photograph
“Water Lilies” 1914-17
“Water Lilies” 1914-17 (detail)
"The Water Lily Pond" 1918 & "Water Lilies" 1914-17
"The Water Lily Pond" 1918
"Water Lilies or the Water Lily Pond" 1904 (detail)
Although his mentors insisted that he draw, Eugene Louis Boudin (1824-1898) tells Monet, “Learn to draw well.” Constant Troyon (1810-1865) advises, “Draw with all your might, you can never learn too much.” Monet isn’t known for drawings. From what can still be seen in archives, he can’t draw, or he doesn’t draw well. The face of the woman holding a parasol in “The Landing Stage” 1871 is a muddy mess, perhaps just a quick sketch of a painting. The two drawings of ‘caricatures’, which are included, truly don’t need to be taking up wall space. Writing is much like drawing, our signatures are unique to us individually. Monet chose to draw with charcoal directly onto the canvas painting over the charcoal studies, they would become his basis for painting, not drawings unto themselves. He wasn’t concerned with drawing, he needed to paint.
“The Landing Stage” 1871 (detail)
“The Landing Stage” 1871
Woman with Parasol, (drawing not in exhibit, stock photo)
As my mentors would point out, an artist should become a master of three things, for Monet they are:
Point #1, Monet’s reflection & light:
“Impression, Sunrise, (Impression, soleil levant)”1872 (1873), writer Jules Castagnary and humorist Louis Leroy coin the term ‘Impressionism’ as a way of mocking this painting (it is not included in the exhibit). Instead the term is embraced and ‘Sunrise’ brings forth a new dawn to the plein-air painting movement. In Denver “Sunset on the Seine at Lavacourt” 1880 is a fine substitute for the more renown painting. Examples of reflection and light include “The Doge’s Palace” 1908, “Waterloo Bridge, Sunset Effect” 1903, and “Charing Cross Bridge, Reflections on the Thames” 1899-1904. Reflections in water of trees, bridges, skies all force Monet to double his efforts. In choosing this type of subject matter he must paint a tree right side up and then again upside down. A critic asks of Monet, “And what sir, is the subject matter of that painting?” Monet replies, “The subject matter, my dear good fellow, is the light”
"Impression, Sunrise" 1872 0r 1873 (not in exhibit, stock photo)
“Sunset on the Seine at Lavacourt” 1880
"The Cliff, Etratat, Sunset" 1882-83
"Waterloo Bridge, Overcast Weather" 1903
"Charing Cross Bridge, Reflections on the Thames" 1899-1904
"The Port of Le Havre, Night Effect" 1873
"Poplars on the Epte" 1891
Point #2, Monet’s brushwork is masterful:
There are many paintings on the top floor that you’ll need to take notice of, “Path in the Wheat Fields at Pourville” 1882, “The Beach at Fecamp” 1881, there’s the use of swirling cloud and swirling wave motifs going on in these two paintings in particular. When you begin looking at the Water Lily paintings the swirling brushstrokes return, how could they not. “For me, a landscape does not exist in its own right, since its appearance changes at any moment.”, Claude Monet in his own words. Upstairs look closely at “The Meadow at Vetheuil” 1879 and “Wheatfield” 1881, his brushstrokes depict a soft breeze across the fields. Monet is creating the illusion of motion through the way he uses brushstrokes. Stunned.
“Path in the Wheat Fields at Pourville” 1882
“Path in the Wheat Fields at Pourville” 1882 (detail)
“The Beach at Fecamp” 1881
“The Beach at Fecamp” 1881 (detail)
“The Meadow at Vetheuil” 1879
“The Meadow at Vetheuil” 1879 (detail)
"Oat Field" 1890
Point #3, Monet and Color:
The paintings of ‘Frost’ show where he truly learns color, how to use it, how to use color sparsely or how to pull the viewer around the painting through the use of color. “Frost at Giverny” 1885, “The Break-up of the Ice” 1880, “Floating Ice in Bennecourt” 1893, “The Houses in the Snow, Norway” 1895 all of them become a master class in how to use color effectively. In order to continue his search for color in a winter landscape Monet travels to Norway where he can experiment painting more snow covered scenes. “Colors pursue me like a constant worry. They even worry me in my sleep” Monet in his own words. These aren’t even the colorful paintings, yet they are rich in his use of color.
The 'Frost' paintings
“Frost at Giverny” 1885
“The Break-up of the Ice” 1880
“Floating Ice in Bennecourt” 1893
“Floating Ice in Bennecourt” 1893 (detail)
Among contemporary artists, the ‘Impressionists’ seem to have fallen out of favor until very recently after a Claude Monet “Mueles (Haystacks)”, 1890 sold for 110.7 million dollars at Sotheby’s. Prices have been climbing for Monet works, regularly estimated at 30-50 million dollars when brought to auction. People are now taking notice, especially of the influence his paintings have on Post-War and Contemporary artists. The influence of Monet can be seen in paintings by Twombly, Rothko, Van Gogh, Hassam, DeKooning, Mitchell, Hodgkin, O'Keeffe, Frankenthaler, and Hockney, to name a few. At Tate Modern, London a Mark Rothko hanging next to a Claude Monet creates an impact.
Monet paintings at left, O'Keeffe watercolors at right
Monet in his studio surrounded by paintings (stock photo)
"Water Lilies" 1914-15 (detail)
The recent and entirely separate concept, exhibition ‘Monet: the Late Years’ went from the De Young Museum (February 16-May 27, 2019) in San Francisco, California then to the Kimbell Art Museum (June 16-September 15, 2019) in Fort Worth, Texas. Over half a million people visited the exhibition “Monet in the 20th Century” at the Museum of Fine Arts, Boston, September 23, 1998-January 21, 1999. This exhibition at the Denver Art Museum should become a pilgrimage destination for every artist and art lover.
"Grainstack in the Sunlight, Snow Effect" 1891
So what is ‘The Truth of Nature’ all about?
The fact is that nature is ever-changing, making for constant variations in color, light, shadow, texture and movement. Painting in plein-air is one of the most challenging endeavors which an artist may choose to undertake. The exhibit is an exceptional tribute to Monet. The entire exhibition should be viewed as a master class for all artists. To miss it would be comparable to skipping school on the one day which Picasso came to give you a painting critique.
"The Artist's House at Argenteuil" 1873
"Apple Trees in Blossom" 1872
“I look after my garden a lot, this brings me pleasure, and, with the beautiful days we have had, I am overjoyed and admire Nature, with this, we never have time to be bored.”, words from Claude Monet.
Monet in the garden at Giverny (stock photo)
"Houses on the Old Bridge at Vernon" 1883
When we travel our agenda is to visit Museums, and moments in nature, along with choosing where we will find the most enjoyable food. These experiences nourish us, after which we can’t wait to return to our studios full of awe and inspiration. An artist is a type of magician or perhaps a wizard, they can create magical experiences for all to see for time ever after, they should be treasured. Monet's paintings are snapshots of moments in time, of everything that the painter was seeing, feeling, emoting and thinking about.
There is no better way,
to spend a winters day.
See for yourself, "Claude Monet: The Truth of Nature" at the Denver Art Museum is an experience not to be missed.
"Path Into the Forest" 1865
Photograph at Denver Botanical Garden
"Autumn on the Seine, Argenteuil" 1873
"River and Mill Near Giverny" 1885
For additional information about the life of
Claude Monet please take a look at the Timeline below.
Oscar Claude Monet, Timeline
1840: November 14, born in Paris, France.
Second child to Claude Adolphe Monet & Louise Justine Aubree.
1851: Enrolls at Le Havre Primary School, where Jacques Francoise Ochard becomes his drawing teacher. Eugene Boudin takes notice of his artwork.
1854: Begins drawing caricatures and landscapes.
1857: Eugene Louis Boudin (one of the earliest plein-air painters becomes his mentor.
1860: Moves to and enrolls in the Acedemie Suisse, Paris
1861: Drafted into the French Military, sent to Algiers, for a term of 7 years.
1862: Contracts pneumonia which leads to pleurisy, sent home from military service on convalescence, is released on honorable discharge.
Begins to study under Charles Gleyre who's students included James McNeill Whistler and Pierre-Auguste Renoir.
1865: Exhibits two paintings including “La Pointe de la Heve River at Low Tide” (included in the Denver exhibition) in the annual Paris Salon, both sell for 300 francs each, and is noticed by Manet for having a similar name. Later he sells 1,000 francs worth of paintings.
1866: “Road to Chailly” is exhibited in the Paris Salon. Camille Doncieux becomes his model for “Camille in Green Dress”.
1867: Both paintings submitted to the Paris Salon are refused entry. Camille gives birth to their son Jean Armand Claude Monet. He is advised to give up plein air painting due to his failing eyesight.
1868: Attempts suicide by jumping into the Seine River.
1869: Paintings of snowscapes are completed.
1870: Marries Camille Doncieux. Flees from a war torn Europe to London.
1871: Exhibits 3 paintings at the annual International Exhibition of London (now the Victoria and Albert Museum). Returns to Paris.
1872: Sells 29 paintings to his dealer Durand-Ruel at a price of 9,800 francs. During the year he sells 12,100 francs of paintings, for the next few years he averages 12,000 francs in sales each year. “Impression, Sunrise” is painted.
1874: Society Anonyme has its first showing of 30 artists in Paris, where “Impression, Sunrise” is exhibited. Writer Jules Castagnary and humorist Louis Leroy coin the term ‘Impressionism’ as a way of mocking this painting. The Society Anonyme is dissolved by end of the year.
1877: American collector Louisiana Elder purchases a Monet painting. The term ‘Impressionists’ is now adapted to describe the painters at this time period.
1878: Michel Monet is born. Georges Petit becomes another of Monet’s dealers.
1879: During a harsh winter he paints more winter scenes. Camille Monet passes away at 32 years of age.
1880: First solo exhibition at the gallery of La Vie Moderne. Attacked in the press (Le Gaulois) for living with Alice Hoschede.
1883: Solo exhibition at Galerie Durand-Ruel, Paris. Moves to Giverny, begins planting his garden. Accompanies Renoir on a painting trip along the Mediterranean coast, returns the following year.
1884: Starts to concentrate on painting Giverny subject matter after returning from a trip to the Normandy coast. It is around this time period when the incident of Monet being knocked into the sea occurred at the cliffs of Etretat.
Begins a long term monthly dinner get together primarily with Renoir and Pissarro along with an occasional invited artists such as Whistler. Art critic Octave Mirabeau writes an enthusiastic article about Monet’s artworks in ‘La France’. Monet’s income is at 45,000 francs this year.
1885: Monet now refers to himself as a lifelong gardener.
1886: Durand-Rouel sends 30-40 Monet paintings to New York be exhibited in the US, his works sell better than the others included. Along with Renoir he becomes a member of a literary group formed by the writer Mirabeau.
1887: Theo Van Gogh sells a few Monet paintings, (he now has 3 galleries vying for paintings).
1888: Begins searching for a ‘different’ type of subject matter. Stays in London with John Singer Sargent.
1889: Exhibition with Rodin in Paris. Sells a Haystack (Wheatstacks) painting for a record 9,000 francs to an American collector.
1890: Describes his new paintings as, water with plants. Purchases the house in Giverny with an advance from Durand-Ruel.
1892: Begins the painting series of Rouen Cathedral. Marries Alice Hoschede. Sales top 100,000 francs.
1895: Creates his first painting of ‘the Japanese Bridge’. 27 paintings are shown in Boston, MA, Chicago, IL & New York City. Visits Oslo, Norway.
1899: by July 5 he has not painted for 18 months, soon he begins paintings in the garden at Giverny and later creates paintings of the Thames on a visit to London.
1900: Continues a series of paintings of various scenes in London. Francois Thiebault Sisson writes about Monet’s life in Le Temps.
1901: In London he falls ill with pleurisy and pneumonia.
1902: Museums in Europe begin acquiring Monet paintings.
1903: Begins the first large scale Water Lily paintings, eventually creating a body of work at around 250 paintings of the water lilies. Becomes absolutely absorbed in painting water lilies.
1908: Begins destroying paintings which he is unsatisfied with (possibly 15 paintings are destroyed). Takes two months off from painting. Later begins paintings in Venice, all of which are admired and considered an enormous success.
1909: He and Alice both begin feeling their age, Monet seeks treatment for his failing eye site (cataract surgery is inevitable but is put off).
1911: Alice Monet passes away on May 19. The first solo US museum exhibit of Monet at the Museum of Fine Arts, Boston includes 45 paintings.
1919: With so many of his friends passing away the death of Renoir on December 3 hits hard.
1922: In May his eyesight is gone, it is reported that he can see 1/10 out of one eye and that it is getting better with the aid of prescribed eye drops.
1923: Undergoes cataract eye surgery, one eye at a time. Begins wearing eyeglasses, he now sees everything as being tinted yellow. He continues to paint large scale water lily canvases until the very end.
1926: December 5, at 86 years of age Monet passes away of lung cancer and enters the eternal light. Buried in Giverny cemetery December 8. During his lifetime he completed 1708 works of art, some claim the figure rises to 2,500 paintings.
"Tulip Fields at Sassenheim" 1886 (blocked view)
All photographs included here were taken by me while attending "Claude Monet: The Truth of Nature" with the consent of the Denver Art Museum, (unless noted as a stock photo).
Please purchase the catalogue if you would like to see the exhibit in it's entirety.
A second article (with Taos readers in mind) was written for the
December 2019 issue of Taos Magazine which can be read online by subscription.
Print copies will be available at Two Graces, Taos until supplies run out.
*This exhibition will travel to one other location, the Museum Barberini in Potsdam Germany February 22 - June 1, 2020.
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