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Essay / Research Paper Abstract
A 6 page paper analyzing the form and content of one of Monet’s later works. The paper discusses critics’ reaction to impressionism nd Monet’s general use of light and color. All of the best of Monet’s innovative additions to art are represented in “Waterlilies and Willow Branches.” Bibliography lists 4 sources.
Page Count:
6 pages (~225 words per page)
File: CC6_KSMonetWaterlilies.rtf
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Unformatted sample text from the term paper:
the term "Impressionism" to one critics disgust over a Renoir painting about which he said that there was nothing there, that Renoirs offering was only impression rather than substance.
Others claim that the term arose from the hurried name that Claude Monet gave his "Impression: Sunrise" so that it could be listed in the catalogue of the exhibition in
1874. Both it and other Monet were ridiculed by Louis Leroy in the magazine Le Charivari, along with one of the first that Renoir made public.
Little did Leroy know that the impressionism that he so roundly reviled represented a lasting, permanent breaking point with the forms of art that had been
acceptable until that time. The forms and techniques available to the artists of the late 19th century were adequate for most, but they could not hope to meet the
purposes of those who would become the next great masters. Monet established impressionism with an orange, misty view of sunrise over the water. He perfected it in "Waterlilies
and Willow Branches." Monets Palette The very palette from which Monet worked differed from those of every other French artist of the day
with the exception of Renoir and those who shared in the pairs experiments with color and technique. Monet banished black and grays from his, and he added light.
Light formed a point of fascination for Monet, and he studied its effects on those objects on which it fell. His other offering for the same exhibition in which
"Impression: Sunlight" appeared was "Fishing Boats Leaving the Harbor, Le Havre," which Louis Leroy equally disliked, referring to the "noxious little figures" in the foreground. Even in this work,
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