Infinite in the sky and the clouds and that speaks back to We have the infinity of that depth and there's also a sense of the The volume that our eye knows? Voiceover: There's something The abstraction of modern art and yet also still make room for Summation of this notion that Monet has worked towards for so long. Of the volume that's portrayed and yet done so on theĢ-dimensional surface of the pond which is of course a reflection of theĢ-dimensional surface of the canvas is a beautiful through Volume of space below the pond and the incredible dome of space above where those toweringĬlouds right above us. Sort of hop, skip and jump from pad to pad and move back into space. And so we actually can locate ourselves and they also allow us to Very particular angle at which we're viewing the padsĪnd the water lilies themselves and that does place us in relationship Now, Monet had just enlarged his ponds but even then they're quite small. The waters so that we see neither the ground that we stand on nor the horizon on the far side. Obviously we're on the shore in some way but we're looking across Monet has placed us inĪ very particular place. Trees often framed recessionary landscapes by Claude or by. Of the weeping willows and those function in a sense the way Sides of these canvases you see the dark shadows Monet is borrowing actually from the classical tradition That because we're confronted with the surface of the water, the surface of the paintings themselves. Through a landscape and here we really can't do Painting often provided a path for one's eye to travel Voiceover: Right, we're lookingĪcross the waters so we see neither the ground we stand on The beauty of the color harmony is that the paintings are Thinking about as we look at this and the intensity of the color and Gardens and maintaining them and then translating them onto canvas and in the sense preserving You know, he devoted anĮnormous amount of his life to actually planting these Of light and the momentary but actually in creating them. Only in capturing and understanding and rendering those effects The steam of the trains and then later in his life, in Voiceover: I keep thinkingĪbout Monet's lifelong desire to capture the beauty of the optical world from when he was in ParisĪnd then in Argenteuil and thinking back to theīoulevard des Capucines and the light floodingĭown the boulevards, to the Gare Saint Lazare and the light filter through To the French state and the state in turn decided after the death of his wifeĪnd after the death of his son. Way as to a kind of solemnity of the sort that you wouldĮxpect in a religious context. These are contemplative works which ties them in an interesting L'Orangerie in Paris and we're looking at one of (piano music playing) Voiceover: We're at the Even today, you cannot remove them from there.Ī few years back, the museum was completely renovated and the workers had to take numerous precautions to make sure the paintings would not suffer from the renovation. So he asked for the paintings to be glued to the wall. But he was scared that later in time the museum might be repurposed and the paintings moved somewhere else. He was happy that France had basically given him a museum. Clemenceau commissioned the paintings and gave Monet that space at the Orangerie (It might not be clear in the video, but there are two separate elliptical rooms). Moreover, Monet was a friend of Georges Clemenceau, one of France's great political figures. If you have a chance to go to the Orangerie Museum you'll be able to enjoy them but also see the canvases up close and the different places where they are put together to create these large panels. The paintings were not painted concave per se, but on separate (albeit large) canvases. Here is a link to a picture of Monet in his atelier in Giverny where he painted the Nympheas:
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