At Giverny, during World War I, Monet could hear the gunshots from the front, which was fifty kilometers away. His eldest son died of illness in 1914, and his second son and his stepson were both in the army. Monet did not think especially well of himself for continuing to paint, but he did think it was what he could do. He wrote in a letter in December of 1914: Yesterday I resumed work… it’s the best way to avoid thinking in [...] more

Tomorrow, Monday, I’m going to virtually ‘walk’ with people through the last gallery of the beautiful Monet in Chicago show at the Art Institute of Chicago. I have some dozens of close pictures to show of the eight late water lily paintings in that wonderful room. It’s a free public program and quite a lot of people have registered and, in the odd way we live now, I’ll meet each of them in the ether between my screen and theirs. [...] more

Yesterday and today, in our extended family, as for many families, our children graduated. Our children and their cousins left behind nursery school, second grade, kindergarten, sixth grade, a year of daycare, and the fourth grade in a planned home school. Their teachers and families made a moving effort to mark these changes which this year do not seem as visible, as tangible, as usual. Thinking about graduation, and gradual movement, my mind went to Claude Monet, who was one of the first painters I loved, and whose paintings our [...] more

débâcle: the violent flood that follows when the river ice melts in spring In the winter of 1879-1880 the weather was unusually stormy and cold.  All along the Seine there were record quantities of snow and ice.  That winter, Claude Monet was at Vétheuil, a village near Argenteuil and to the northwest of Paris.  Monet was living in straitened circumstances with his children; his beloved wife Camille had died earlier that year, in September.  The remaining Monets were sharing a household with Alice Hoschedé and her children.  The winter was [...] more

The final studio in which Delacroix worked is also, spatially, the last in a series of seclusions.  It’s a wonderful large square, lit by immense skylights, and surrounded by gardens that Delacroix filled with a profusion of flowers, their colors of his own careful choosing.  The studio building is behind, and separate from, the apartment in which Delacroix lived. This apartment is itself on a private courtyard holding quiet entrances for a few buildings.  The courtyard is off a small quiet square, really a slight geometric expansion of a narrow street, the Rue Furstenberg, an [...] more

In Cleveland for the holidays, M. and I walked through the galleries of the art museum, and stumbled upon Turner’s The Burning of the Houses of Lords and Commons, 16 October, 1834 . If I’d seen it before, I’d entirely forgotten.  A painting of great power and intricacy. Turner one of those rare colorists who seems, to me, to have control within the color – especially here of red that really burns at the heart of [...] more

I hadn’t appreciated what it meant to Monet to work in a series.  I knew the haystacks and the cathedrals and the water lilies showed different times of day – that you could see the morning in the yellow light along one edge of a bridge or doorframe and the evening in the lavender along the other – but I hadn’t really thought through how Monet would then actually have to work on them. I assumed, I think, that he began, say on a morning painting of haystacks, finished that one and then moved on to one [...] more

Possibly it was somewhere in two decades of reading and rereading Susan Sontag’s On Photography that I absorbed a small but suggestive misimpression.  In the midst of a passage on the relationship between photography and painting, she devotes a long footnote to Impressionism.  This footnote begins, unexceptionably, “the large influence that photography exercised upon the Impressionists is a commonplace of art history. ”[i] Rereading the rest of the footnote I see, as is often the case with Sontag, that I have been thinking about what it contains for a long time without [...] more

[This is the second installment of visual notes on this Pissarro, documented by iphone. ] Stretch of cultivated field down to earth: Shape of path as it curves back: Shape of hill crest, cypressed, below sky: Step back to look at whole again: Dark paint, just dashed on, group of trees: Really dark, low dark hole, yellow grass across lower right corner: Look again at dark paint just dashed on of upper tree: Once having looked at these two [...] more