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  • NEW WORLDS – Le bassin aux nymphéas

  • Artists have been exploring various routes to abstraction ever since the 19th century. The subject of the landscape is critical to that search, since it is in observing nature that the gaze becomes lost. This process is utilized in painting: As the gaze wanders, recognizing the scenery in the distance but dissolving that which is close by into fields of colour, the subject of the image recedes to make way for what is happening on the canvas. Hence, in Cézanne’s canvasses the blots of colour (»taches«) on the canvas blend to form the rural architecture of a quarry, while the large-format ›Water Lily‹ paintings by Claude Monet appear like a sea of colour. Monet had been working on the idea of space-consuming »decoration« that lay behind this series of works since as early as 1914, and in 1927 he was able to realize it in the Orangerie in Paris, which became something of a »Sistine Chapel of Impressionism« post-1945. For artists like Mark Rothko, Monet’s handling of light and colour was a model to be emulated.
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  • Exh_Title_S: NEW WORLDS – Le bassin aux nymphéas
  • Exh_Id: 2,556
  • Exh_Comment_S (Verantw): Sammlung Online
  • Exh_SpareNField01_N (Verantw ID): 241
Works
La Carrière de Bibémus
Maison de Bellevue et pigeonnier
La Roche Oraguay, Vallon de Maisières, Doubs
Vase
  • Gallé, Werkstatt Émile

  • Vase, 1905 - 1908

Vase
  • Gallé, Werkstatt Émile

  • Vase, 1920 -1936

Le Bassin aux nymphéas
Untitled (White, Pink and Mustard)