Claude MONET (1840-1926)
Except otherwise stated, all results include the premium.
See also : France Vétheuil to Giverny London and Venice Pond by Monet Landscape Venice Cities
Chronology : 19th century 1890-1899 1890 1900-1909 1903 1905 1907 1908 1910-1919 1914 1918 1919
See also : France Vétheuil to Giverny London and Venice Pond by Monet Landscape Venice Cities
Chronology : 19th century 1890-1899 1890 1900-1909 1903 1905 1907 1908 1910-1919 1914 1918 1919
Masterpiece
1872 Impression Soleil Levant
Musée Marmottan
Claude Monet was not a theorist. He progressed by releasing his emotion. The Impression soleil levant painted in 1872 fades within the fog the real features of the view. This painting is a burst of intuition and is described in the history of art as the cornerstone of Impressionnisme.
The image is shared by Wikimedia.
The image is shared by Wikimedia.
Meules
Intro
After the Impression Soleil Levant it took nearly two decades for Monet to jump to a still more decisive step, with the Meules.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
1
1890 W1273 Meules
2019 SOLD for $ 110M by Sotheby's
Every year the grain stacks will remain alone in the middle of the fields as temporary semaphores that break until the wheat threshing of the spring the monotonous ground devoid of its plants by winter. They will be the suitable support for Monet to perform his observations of colors through all weather conditions and at all moments of time.
Monet loves this theme that is typical of country life without the need to add humans or birds. He begins at the end of summer 1890 with five landscapes in which two haystacks are distant from each other.
According to the sequence established by Wildenstein, the next sub-series is composed of two oil paintings on canvas 73 x 93 cm executed during the autumn of 1890. The alignment of two haystacks leads to the tall trees on the horizon, against the light in the last rays of sunset. For the first time the rest of the image is minimized. The predominance of the expression of colors over theme and form opens the way to modern art.
The second of these pictures, W1273, goes even further by managing to avoid the shadows of the two stacks. All that remains is the light that plays with the contours of stacks and trees and reveals the shimmering colors of the field. It was dated 1891 by the artist, certainly by reference to the year of the first public exhibition of the series, in the gallery of Durand-Ruel.
W1273 was sold for $ 110M from a lower estimate of $ 55M by Sotheby's on May 14, 2019, lot 8. Please watch the video shared by the auction house.
Monet loves this theme that is typical of country life without the need to add humans or birds. He begins at the end of summer 1890 with five landscapes in which two haystacks are distant from each other.
According to the sequence established by Wildenstein, the next sub-series is composed of two oil paintings on canvas 73 x 93 cm executed during the autumn of 1890. The alignment of two haystacks leads to the tall trees on the horizon, against the light in the last rays of sunset. For the first time the rest of the image is minimized. The predominance of the expression of colors over theme and form opens the way to modern art.
The second of these pictures, W1273, goes even further by managing to avoid the shadows of the two stacks. All that remains is the light that plays with the contours of stacks and trees and reveals the shimmering colors of the field. It was dated 1891 by the artist, certainly by reference to the year of the first public exhibition of the series, in the gallery of Durand-Ruel.
W1273 was sold for $ 110M from a lower estimate of $ 55M by Sotheby's on May 14, 2019, lot 8. Please watch the video shared by the auction house.
An enduring symbol of Impressionism from Claude Monet's iconic Haystacks series will lead an important private collection of 8 Impressionist works on offer in #SothebysImpMod Evening Sale on 14 May in #NYC. Learn more: https://t.co/B4xVl8QWFA pic.twitter.com/SMDorfOowE
— Sotheby's (@Sothebys) March 15, 2019
2
1891 W1290 Meule
2016 SOLD for $ 81M by Christie's
The deep nature of a landscape can no longer be expressed by a single snapshot. In this series which ends in January 1891 and totals 25 paintings, Monet has captured 25 moments of light of a wide variety : morning, evening, full sun, snow, mist. In the last pictures the color also comes to sublimate the perspective with the reduction of the theme to a single haystack..
Three of them have been specifically grouped as a ultimate achievement of the Meules in the catalogue raisonné prepared by Daniel Wildenstein. Only one stack is visible in front of a retracted landscape. It is truncated either from top or from one side. The color emotion is not challenged by that figurative feature reduced to nothing more than a bulky triangle. In 1896, in front of one of these paintings, Kandinsky was dazzled.
Another Meule from that group of three, oil on canvas 73 x 92 cm painted in 1891, reference Wildenstein 1290 pictured at sunset, was sold for $ 12M by Sotheby's on May 11 1999 and for $ 81M by Christie's on November 16, 2016, lot 9 B. Please watch the video shared by Christie's. The image below is shared by Wikimedia.
Three of them have been specifically grouped as a ultimate achievement of the Meules in the catalogue raisonné prepared by Daniel Wildenstein. Only one stack is visible in front of a retracted landscape. It is truncated either from top or from one side. The color emotion is not challenged by that figurative feature reduced to nothing more than a bulky triangle. In 1896, in front of one of these paintings, Kandinsky was dazzled.
Another Meule from that group of three, oil on canvas 73 x 92 cm painted in 1891, reference Wildenstein 1290 pictured at sunset, was sold for $ 12M by Sotheby's on May 11 1999 and for $ 81M by Christie's on November 16, 2016, lot 9 B. Please watch the video shared by Christie's. The image below is shared by Wikimedia.
1903 London
Intro
In the early autumn 1899 Claude and Alice Monet are in London for family purpose. Under their windows at the Savoy Hotel, the Thames river flows eastward between the Charing Cross railway bridge and the Waterloo road bridge.
The artist returns alone in the following year to the same hotel for a longer stay, in February and March. He loved the winter fog of London. Not for its mist but for its ever vanishing colors.
After Constable, Monet was a skilled interpreter of the English sky. He was more directly influenced from the atmosphere of London by Turner in the 1830s and by the nocturnal colors of the Thames by Whistler in the 1870s.
The light changes at every moment with the clouds pushed by the wind and the instability of the fog. He observes that some effects of light through the fog do not exceed five minutes. His control is total and even his method for applying his brush varies depending on the desired effect.
He applies every day an ambitious working plan with a schedule of the utmost rigor. Taking advantage of the benevolent help of the Savoy, he prepares dozens of canvases to translate in parallel all the shimmers of pink fog in the morning on Waterloo Bridge and in the early afternoon on Charing Cross Bridge.
In February 1900 he adds as a third view the sunset above the neo-Gothic buildings of the Houses of Parliament and the river. This activity was requiring the outdoor installation of his easels in parallel in the garden of St. Thomas's Hospital, as he had done in Giverny in 1891 for painting the Peupliers. Already a famous artist, Monet easily gets the authorization to work in this place. Every afternoon at 4:00, he leaves the hotel to retrieve or resettle his easels at the hospital.
The change of light in the early spring terminates the session when the sun is now higher and the light has changed. By considering the three views altogether, Monet started a hundred paintings during the 1900 stay.
He leaves London before spring when the sun is now higher and the light has changed. He returns with his paintings in 1901 during the same season but snow and cold prevent a further progress.
That selection of only three view points, all of them along the River Thames, for expressing the atmosphere of a big city was an amazing artistic conception. Monet is definitely not a tourist : the rest of the city does not interest him.
He reworked all of them simultaneously in his studio at Giverny and signed them with the date of the completion. He thus painted 41 views of the elegant Waterloo bridge, 37 views of Charing Cross bridge and 19 views of the Towers of Parliament. He considered that work as a whole and did not give visibility before the last of them was finished in 1904. Their exhibition by Durand-Ruel in that year got a considerable success. He also made pastels.
The artist returns alone in the following year to the same hotel for a longer stay, in February and March. He loved the winter fog of London. Not for its mist but for its ever vanishing colors.
After Constable, Monet was a skilled interpreter of the English sky. He was more directly influenced from the atmosphere of London by Turner in the 1830s and by the nocturnal colors of the Thames by Whistler in the 1870s.
The light changes at every moment with the clouds pushed by the wind and the instability of the fog. He observes that some effects of light through the fog do not exceed five minutes. His control is total and even his method for applying his brush varies depending on the desired effect.
He applies every day an ambitious working plan with a schedule of the utmost rigor. Taking advantage of the benevolent help of the Savoy, he prepares dozens of canvases to translate in parallel all the shimmers of pink fog in the morning on Waterloo Bridge and in the early afternoon on Charing Cross Bridge.
In February 1900 he adds as a third view the sunset above the neo-Gothic buildings of the Houses of Parliament and the river. This activity was requiring the outdoor installation of his easels in parallel in the garden of St. Thomas's Hospital, as he had done in Giverny in 1891 for painting the Peupliers. Already a famous artist, Monet easily gets the authorization to work in this place. Every afternoon at 4:00, he leaves the hotel to retrieve or resettle his easels at the hospital.
The change of light in the early spring terminates the session when the sun is now higher and the light has changed. By considering the three views altogether, Monet started a hundred paintings during the 1900 stay.
He leaves London before spring when the sun is now higher and the light has changed. He returns with his paintings in 1901 during the same season but snow and cold prevent a further progress.
That selection of only three view points, all of them along the River Thames, for expressing the atmosphere of a big city was an amazing artistic conception. Monet is definitely not a tourist : the rest of the city does not interest him.
He reworked all of them simultaneously in his studio at Giverny and signed them with the date of the completion. He thus painted 41 views of the elegant Waterloo bridge, 37 views of Charing Cross bridge and 19 views of the Towers of Parliament. He considered that work as a whole and did not give visibility before the last of them was finished in 1904. Their exhibition by Durand-Ruel in that year got a considerable success. He also made pastels.
1
Le Parlement
2022 SOLD for $ 76M by Christie's
The subgroup of the Parliament from St. Thomas's at sunset consists of 19 oil paintings in a unique format 81 x 93 cm.
Le Parlement - soleil couchant, numbered 1603 by Wildenstein, was sold for $ 40.5M by Christie's on May 11, 2015, lot 24A. Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly successful. Despite the clouds, the sun plays behind the high tower and the soft pink shades apply to the edges of the clouds and to the reflections in the river.
The Wildenstein 1604, with the same title and subtitle, was dated 1903 by the artist. Both were included in the 1904 exhibition of Monet's Vues de la Tamise à Londres at the Galerie Durand-Ruel.
Both sceneries were captured at about the same time at around 5 o'clock in another twilight, W1603 at a later date. W1603 displays a striking appearance of the sun amidst dramatic clouds while W1604 is foggy in violets, lilacs, blues and deep pink with a ghostly silhouette of the Parliament buildings.
W1604 was sold for $ 76M from a lower estimate of $ 40M by Christie's on May 12, 2022, lot 10C.
Le Parlement - soleil couchant, numbered 1603 by Wildenstein, was sold for $ 40.5M by Christie's on May 11, 2015, lot 24A. Dated 1902, this painting is one of the first that was completed by the artist, perhaps because the very expressive sky is particularly successful. Despite the clouds, the sun plays behind the high tower and the soft pink shades apply to the edges of the clouds and to the reflections in the river.
The Wildenstein 1604, with the same title and subtitle, was dated 1903 by the artist. Both were included in the 1904 exhibition of Monet's Vues de la Tamise à Londres at the Galerie Durand-Ruel.
Both sceneries were captured at about the same time at around 5 o'clock in another twilight, W1603 at a later date. W1603 displays a striking appearance of the sun amidst dramatic clouds while W1604 is foggy in violets, lilacs, blues and deep pink with a ghostly silhouette of the Parliament buildings.
W1604 was sold for $ 76M from a lower estimate of $ 40M by Christie's on May 12, 2022, lot 10C.
#AuctionUpdate Claude Monet’s ‘Le Parlement, soleil couchant’ realizes $75.96 million  pic.twitter.com/BpjEOoZ7nY
— Christie's (@ChristiesInc) May 12, 2022
2
Waterloo Bridge soleil voilé
2022 SOLD for $ 65M by Christie's
Monet enjoyed the ever changing light of London in winter. While he observed the Waterloo Bridge, the sun rays rarely pierced the morning fog, enriched it with ephemeral lilac, blue and violet tones.
Waterloo Bridge, soleil voilé, oil on canvas 65 x 100 cm dated 1903, was sold by Christie's for $ 8.3M on November 11, 1997, lot 107, and for $ 65M by Christie's on November 9, 2022, lot 41. It had been exhibited at the Galerie Durand-Ruel in 1904. The image is shared by Wikimedia.
Specific details including a single boat on the Thames are immersed in the haze of smoke and fog. The carriages are expressed in an evanescent glittering procession across the bridge, in a later moment than the early morning usually practiced by Monet for this view.
Waterloo Bridge, soleil voilé, oil on canvas 65 x 100 cm dated 1903, was sold by Christie's for $ 8.3M on November 11, 1997, lot 107, and for $ 65M by Christie's on November 9, 2022, lot 41. It had been exhibited at the Galerie Durand-Ruel in 1904. The image is shared by Wikimedia.
Specific details including a single boat on the Thames are immersed in the haze of smoke and fog. The carriages are expressed in an evanescent glittering procession across the bridge, in a later moment than the early morning usually practiced by Monet for this view.
1905 Water Landscapes
2015 SOLD for $ 54M including premium
In 1904 Claude Monet is seduced by his own work, not as an artist but as a gardener. Water lilies are now invading his pond at Giverny. Their floating leaves constitute a perfectly flat surface which is unique as an artistic theme and the exquisite colors of the flowers meet the Art Nouveau sensitivity of the time.
The artist begins a synthesis of this new theme with his concern from the previous twenty years for the changing colors and reflections under various time and weather. He had the good fortune to catch in his own garden the most subtle theme of modern painting.
The paintings of the first year of the Nymphéas series are very rare on the art market. One of them, 81 x 100 cm, was sold for £ 18.5 million including premium by Sotheby's on 19 June 2007. In this close-up view, the edge of the pond is already off the field, also providing an impression of infinity that anticipates Mondrian.
In 1905, the water lilies are more sparse to offer a better role to reflections that became recognizable although the trees are still out of field. The plants form a floating cohort simulating a nice horizontal movement.
A view in clear weather under a gentle sun, oil on canvas 90 x 100 cm, was sold for $ 44M including premium by Christie's on November 7, 2012.
On May 5 in New York, Sotheby's sells an oil on canvas 81 x 100 cm, lot 30 estimated $ 30M. Also dated 1905, it shows the blocks at the water surface in an atmosphere of early or late hour providing a superb harmony of deep blues and greens.
The artist begins a synthesis of this new theme with his concern from the previous twenty years for the changing colors and reflections under various time and weather. He had the good fortune to catch in his own garden the most subtle theme of modern painting.
The paintings of the first year of the Nymphéas series are very rare on the art market. One of them, 81 x 100 cm, was sold for £ 18.5 million including premium by Sotheby's on 19 June 2007. In this close-up view, the edge of the pond is already off the field, also providing an impression of infinity that anticipates Mondrian.
In 1905, the water lilies are more sparse to offer a better role to reflections that became recognizable although the trees are still out of field. The plants form a floating cohort simulating a nice horizontal movement.
A view in clear weather under a gentle sun, oil on canvas 90 x 100 cm, was sold for $ 44M including premium by Christie's on November 7, 2012.
On May 5 in New York, Sotheby's sells an oil on canvas 81 x 100 cm, lot 30 estimated $ 30M. Also dated 1905, it shows the blocks at the water surface in an atmosphere of early or late hour providing a superb harmony of deep blues and greens.
AuctionUpdate: Sotheby's Chairmen George Wachter and Patti Wong battle for Monet’s ‘Nymphéas,' selling for $54m pic.twitter.com/4mlTAOvKY9
— Sotheby's (@Sothebys) May 6, 20151907 Nymphéas
2022 SOLD for $ 56M by Christie's
In 1907 the continuation of the Nymphéas series by Monet brings a major breakthrough in modern art. The hues become lighter and ethereal. The accuracy of the brush lines is superseded by the confrontation of rare colors, paving the way to the abstract expressionism four decades later. The horticulture is now secondary to the atmosphere and light.
On May 12, 2022, Christie's sold for $ 56M from a lower estimate of $ 35M a 94 x 89 cm oil on canvas painted in 1907 in pastel like hues, lot 12C. The image is shared by Wikimedia.
Between the groups of floating flowers, the mirror image of the trees and sky at the surface of the water provides another pre-abstract element. The wide open blossoms had been captured in the morning or early afternoon.
This opus was included in the seminal exhibition of 48 Nymphéas by Durand-Ruel in 1909.
Its nearly square format certainly predates the bold transition to vertical format in the same year, which would be a nonsense if the painting were a mere scenery. A vertical oil on canvas 100 x 81 cm was sold for $ 27M by Christie's on May 6, 2014.
On May 12, 2022, Christie's sold for $ 56M from a lower estimate of $ 35M a 94 x 89 cm oil on canvas painted in 1907 in pastel like hues, lot 12C. The image is shared by Wikimedia.
Between the groups of floating flowers, the mirror image of the trees and sky at the surface of the water provides another pre-abstract element. The wide open blossoms had been captured in the morning or early afternoon.
This opus was included in the seminal exhibition of 48 Nymphéas by Durand-Ruel in 1909.
Its nearly square format certainly predates the bold transition to vertical format in the same year, which would be a nonsense if the painting were a mere scenery. A vertical oil on canvas 100 x 81 cm was sold for $ 27M by Christie's on May 6, 2014.
1908 Grand Canal
2022 SOLD for $ 57M by Sotheby's
The next Wildenstein number from the example above is a very similar view of the Grand Canal with Santa Maria della Salute in the opposite bank, in the same 73 x 92 cm format. It is taken from farther away from the first pole, and the lower step corner of the Palazzo Barbaro over the canal has been added.
These after lunch pictures ended at 3 o'clock Claude's working day. He would then relax until twilight in a gondola tour with Alice.
The weather is sunny. The difference between both pieces is the attempt by the artist to catch subtle changes in the mirage-like atmosphere and haze of the water scenery caught in another early afternoon.
The surface of the canal is iridescent of a wide range of reflected colors providing the effect of a splashing water. Far away gondolas have been added.
This oil on canvas was sold for $ 57M by Sotheby's on May 18, 2022, lot 8. Please watch the video shared by the auction house.
These after lunch pictures ended at 3 o'clock Claude's working day. He would then relax until twilight in a gondola tour with Alice.
The weather is sunny. The difference between both pieces is the attempt by the artist to catch subtle changes in the mirage-like atmosphere and haze of the water scenery caught in another early afternoon.
The surface of the canal is iridescent of a wide range of reflected colors providing the effect of a splashing water. Far away gondolas have been added.
This oil on canvas was sold for $ 57M by Sotheby's on May 18, 2022, lot 8. Please watch the video shared by the auction house.
The Monet market has been raging. Now Sotheby's is pulling out a Venetian painting with a $50m asking price. They may be shooting too low: https://t.co/wmtcwaJhA4 pic.twitter.com/Hj59nApK2e
— LiveArt (@artmarket) March 25, 2022
1914-1917 The New Water Lilies
2018 SOLD for $ 85M including premium
Monet visits the booth of the horticulturist Latour-Marliac at the Paris Universal Exhibition in 1889. A specialist in bamboos and other aquatic plants, Latour-Marliac is a skilled hybridizer. He was the first in Western Europe to create colored nenuphars by crossbreeding the usual white flowered plants with wild species.
Based in Giverny since 1883 the artist wants to create a water garden. In 1894 he purchases from Latour-Marliac plants from 32 different species including a yellow Nymphaea created in 1888 and a pink Nymphaea created in 1892. His interest in these hybrids is not immediate but his curiosity increases.
These new water lilies will become the stars of his garden. Monet paints his first Nymphéas in 1895, displaying the plants on the water in close-up with a botanical accuracy on canvases less than 1 m wide.
The artist is delighted by his garden. In 1904 the nymphéa pond becomes one of his favorite themes. The water lilies float in a cohort, bringing in conjunction with the reflections a vision of the surface of the water. In the same year he buys four other hybrids to Latour-Marliac
1914 is a terrible year. His son Jean dies in February, less than three years after Alice. International relations are desperate. Fortunately his friend Georges Clemenceau pushes him back to work by suggesting the project of the Grandes Décorations.
This new phase includes a major modification in Monet's art, the use of large formats of canvas. He looks more closely at the details of the flowers in his garden. A group of giant iris at water's edge 200 x 100 cm was sold for £ 10.8M including premium by Christie's on June 23, 2015.
On May 8 in New York, Christie's sells as lot 10 Nymphéas en fleur, oil on canvas 140 x 180 cm painted in his signature style of 1914-1917. The large size enables here a synthesis of the two visions of the artist. Nine big flowers in five groups have retrieved the details of the earliest series while the leaves and reflections are positioning the surface of the water on the whole of this image with no horizon.
Based in Giverny since 1883 the artist wants to create a water garden. In 1894 he purchases from Latour-Marliac plants from 32 different species including a yellow Nymphaea created in 1888 and a pink Nymphaea created in 1892. His interest in these hybrids is not immediate but his curiosity increases.
These new water lilies will become the stars of his garden. Monet paints his first Nymphéas in 1895, displaying the plants on the water in close-up with a botanical accuracy on canvases less than 1 m wide.
The artist is delighted by his garden. In 1904 the nymphéa pond becomes one of his favorite themes. The water lilies float in a cohort, bringing in conjunction with the reflections a vision of the surface of the water. In the same year he buys four other hybrids to Latour-Marliac
1914 is a terrible year. His son Jean dies in February, less than three years after Alice. International relations are desperate. Fortunately his friend Georges Clemenceau pushes him back to work by suggesting the project of the Grandes Décorations.
This new phase includes a major modification in Monet's art, the use of large formats of canvas. He looks more closely at the details of the flowers in his garden. A group of giant iris at water's edge 200 x 100 cm was sold for £ 10.8M including premium by Christie's on June 23, 2015.
On May 8 in New York, Christie's sells as lot 10 Nymphéas en fleur, oil on canvas 140 x 180 cm painted in his signature style of 1914-1917. The large size enables here a synthesis of the two visions of the artist. Nine big flowers in five groups have retrieved the details of the earliest series while the leaves and reflections are positioning the surface of the water on the whole of this image with no horizon.
#AuctionUpdate Claude Monet’s ‘Nymphéas en fleur’ achieves $84,687,500, a new #WorldAuctionRecord for the artist!https://t.co/G5xBg3xpbT pic.twitter.com/LD6tGMAVvX
— Christie's (@ChristiesInc) May 9, 2018
#LiveLikeARockefeller: ‘The closer you get to the canvas, the more you feel like you’re inside it. The rest of the world vanishes,’ says Rebecca Wei, our President of Christie’s Asia, of the Rockefellers’ ‘Nymphéas en fleur’ by Claude #Monet.https://t.co/mT8EnKHNAN pic.twitter.com/LrOsMEJU7F
— Christie's (@ChristiesInc) April 24, 2018
1918 Coin du Bassin
2021 SOLD for $ 51M by Sotheby's
During the preparation phase of the Grandes Décorations, Claude Monet was redeveloping his art as a whole. He had felt urged to achieve the culmination of his art in March 1918 when his beloved Giverny garden was threatened by an ultimate German counter-offensive.
His most spectacular studies were for the panoramic formats. He also selected a few corners in his garden for capturing in independent series the effects of light beside the shadows of a deep foliage.
These oil studies have sometimes been considered as precursors to the abstract expressionism. Indeed Monet was working on the specific beauty of dark hues half a century before Rothko prepared the Rothko Chapel.
Saule pleureur is a series of ten paintings on a theme aside from the pond, within the foliage of a weeping willow. An oil on canvas 130 x 110 cm was sold for £ 8.9M by Christie's on June 29, 2017, lot 14.
Le Pont Japonais is a series of 24 paintings made between 1918 and 1924. An undated example, oil on canvas 73 x 100 cm, was sold for $ 12.8M by Christie's on May 13, 2019, lot 36A. Another one, also undated, was sold for $ 15.8M by Sotheby's on May 7, 2014.
His new vertical studies display some detail in the garden, including the float of the waterlilies.
A Coin du bassin aux nymphéas, oil on canvas 130 x 89 cm, was sold for $ 51M by Sotheby's on November 16, 2021, lot 26. Please watch the video shared by the auction house. The image is shared by Wikimedia.
This painting keeps intact its original thick impasto used by Monet for new luminosity effects, in a mingling of many colors that anticipates Pollock.
This opus was dated 1918 by the artist. It was part of a few paintings released by Monet to the market in January 1919, split between Durand-Ruel and Bernheim-Jeune. This one was shared by both dealers.
Viewed from a vantage point, an undated Coin du bassin aux nymphéas, oil on canvas 130 x 89 cm, was sold for $ 22M from a lower estimate of $ 15M by Christie's on May 13, 2019, lot 35A.
The aging Monet was certainly anxious when he made this specific painting. The incandescent light behind the trees of his own garden is otherworldly. He kept this highly personal work in his studio until his death.
His most spectacular studies were for the panoramic formats. He also selected a few corners in his garden for capturing in independent series the effects of light beside the shadows of a deep foliage.
These oil studies have sometimes been considered as precursors to the abstract expressionism. Indeed Monet was working on the specific beauty of dark hues half a century before Rothko prepared the Rothko Chapel.
Saule pleureur is a series of ten paintings on a theme aside from the pond, within the foliage of a weeping willow. An oil on canvas 130 x 110 cm was sold for £ 8.9M by Christie's on June 29, 2017, lot 14.
Le Pont Japonais is a series of 24 paintings made between 1918 and 1924. An undated example, oil on canvas 73 x 100 cm, was sold for $ 12.8M by Christie's on May 13, 2019, lot 36A. Another one, also undated, was sold for $ 15.8M by Sotheby's on May 7, 2014.
His new vertical studies display some detail in the garden, including the float of the waterlilies.
A Coin du bassin aux nymphéas, oil on canvas 130 x 89 cm, was sold for $ 51M by Sotheby's on November 16, 2021, lot 26. Please watch the video shared by the auction house. The image is shared by Wikimedia.
This painting keeps intact its original thick impasto used by Monet for new luminosity effects, in a mingling of many colors that anticipates Pollock.
This opus was dated 1918 by the artist. It was part of a few paintings released by Monet to the market in January 1919, split between Durand-Ruel and Bernheim-Jeune. This one was shared by both dealers.
Viewed from a vantage point, an undated Coin du bassin aux nymphéas, oil on canvas 130 x 89 cm, was sold for $ 22M from a lower estimate of $ 15M by Christie's on May 13, 2019, lot 35A.
The aging Monet was certainly anxious when he made this specific painting. The incandescent light behind the trees of his own garden is otherworldly. He kept this highly personal work in his studio until his death.
1917-1919 Le Bassin aux Nymphéas by Monet
2021 SOLD for $ 70M by Sotheby's
A painting from the series of Le Bassin aux Nymphéas was sold twice by Sotheby's, for $ 16.8M on May 6, 2004, lot 133, and for $ 70M on May 12, 2021, lot 1010. Please watch the video shared by the auction house. An estimate in the region of $ 40M was revealed therein. The image is shared by Wikimedia.
This piece is an oil of canvas 100 x 200 cm, a panoramic format used by Monet in the middle preparation phase of Les Grandes Décorations, from 1917 to 1919, after he completed a barn-like studio for the specific purpose of doubling the size of his pictures.
In conjunction with the complete removal of both shore and horizon, the large size of the flowers indeed brings the impression of a very close view of the pond. This immersion is enhanced by the reflections of green trees and blue sky in the interstices between the groups of floating plants.
The emotion and the presence are brought by the arrangement of the increasingly vibrant colors while the topographic depiction becomes unnecessary. This opus had probably been prepared at the end of the 1917-1919 period. It is indeed a forerunner of the trend to abstraction of the next phase of Monet's career.
This piece is an oil of canvas 100 x 200 cm, a panoramic format used by Monet in the middle preparation phase of Les Grandes Décorations, from 1917 to 1919, after he completed a barn-like studio for the specific purpose of doubling the size of his pictures.
In conjunction with the complete removal of both shore and horizon, the large size of the flowers indeed brings the impression of a very close view of the pond. This immersion is enhanced by the reflections of green trees and blue sky in the interstices between the groups of floating plants.
The emotion and the presence are brought by the arrangement of the increasingly vibrant colors while the topographic depiction becomes unnecessary. This opus had probably been prepared at the end of the 1917-1919 period. It is indeed a forerunner of the trend to abstraction of the next phase of Monet's career.
