& # 8211 ; Water Lily Pond Essay, Research Paper

Claude Monet ever stood entirely ; his pess echoing to a great extent on the solid route that he was determined to follow until the really terminal. With bantam, swabing coppice shots his pictures, more frequently than non exploded in the aureate profusion of the Sun. With Monet a coppice shot, while imprecise, can propose an eternity of objects that go beyond the instant and immortalize it. Born in Paris on the 14th November 1840, Claude Monet was one of the Masterss of the manner of art known as Impressionism. The name Impressionism was invented as a term of maltreatment, hurled by a critic after seeing the Monet picture Impression: Dawn at an exhibition in 1874. Yet those who practiced the manner of art adopted the slur with self-respect.

During his life, Monet painted many series of pictures, each one based on a certain topic. One such series is the Nipponese Bridge painted in 1899 after the decease of his 2nd married woman Suzanne. Nine out of 11 pictures were given the rubric Water Lily Pond, and through out the series an idealised universe emerges, an enclosed and unafraid Eden.

Proportion of the objects in the Water Lily Pond relates straight to their propinquity to each other. The aquatic workss that float on the top of the H2O in the foreground of the piece are big in comparing to those underneath the span, whilst the span arching over the pool is big, despite being towards the top of picture and therefore farther off. Yet the baronial size of the span dominates the picture regardless.

In the Water Lily Pond, the span moves over the pool, imparting the picture it s beat, pulling the eyes of the spectator along the span and under the lake, where the shadow of the span lies. Rhythm is besides conveyed by the usage of similar colorss and the textures used on the leaf.

Each coppice shot placed on the canvas by Monet is portion of the symphonic music that makes up the piece. Short, swabing gestures of his coppice create the mirage of colorss in the H2O lilies whilst slender, lissome shots impart the willows and the span with a s

oft and realistic expression. In the background, towards the far terminal of the pool, the shots blend together and the texture appears mottled, supplying the picture with its three dimensional feel.

The manner in which the visible radiation falls on the picture, from the upper left corner and frontward creates the dark colors of the span, stressing it and hence doing it the focal point. In contrast to the other pictures in the series, in this one Monet has lifted the span to the top of the page, possibly typifying the alteration in his life, as his eyes travel past the span and into the hereafter without his married woman.

Integrity is in how a picture is brought together and made one. Monet has unified this picture by utilizing similar colorss near to each other and by painting the span over the pool and thereby encircling it both with the grey of the span and the brown of its shadow in the pool. His picture technique of short, fleet shots have besides served to unite the picture.

Water Lily Pond is an imbalanced picture as darker tones and larger forms are used with more frequence on the left side than the right, therefore doing it heavier.

With vivacious leafy vegetables shimmering and colorful blotchs of pink and yellow, the Water Lily Pond is harmonious in its colorss instead than contrasting. The picture besides harmonizes with nature in that it is painted in the same manner person would see it at Monet s garden in Giveney.

In decision, Monet has right proportioned the workss of the garden so as to reflect nature and used a assortment of coloring material and texture to let a clear uninterrupted position of the surface of the pool. The fleet coppice shots and soft accent of the light impart the picture with a sense of unagitated whilst the tones and silence of the still Waterss are obscure, finely nuanced and posses a surreal daintiness.

Bibliography

Monet s Water Lilies by Vivian Russell

+1998, Hodder Headline Australia Pty. Ltd.

Monet: Water Lilies by Charles F. Stuckey

+1988, Hugh Lauter Levin Associates, NY