Response to Monets Water Lillies Thesis Example | Topics and Well Written Essays - 3000 words

Response to Monets Water Lillies - thesis ExampleThis commentary note is a series of reflections and important aspects of Clarks experiences as he viewed both works by Poussin and wrote on his perspicacity through these viewings, and on my own art-making, First, I discuss what insight the current body of literature concerning Monets Water lilies series can offer to a intelligence of the work. Second, I examine the work through the perspectives presented in The Sight of Death and Art and its Objects. Third, I look future research and lesson developments. Finally, I considered my reflections as they impact my future scholarship and art-making. While there argon a host of famed artworks that grace the walls and spaces of the worlds great cultural centers and museums, few energise gotten the attention of the public like those of the impressionists, particularly the works of Claude Monet (1840-1926). In fact, one of the highest prices paid for a hit work of art was invested in one of his Water Lilies (1920-1926) series, which sold in 2008 for over $70 million. The raise in this series of paintings continues today, as seen by the public and critical response to the Monets Water Lilies expo held in New York City at the Museum of Modern Art from September 13, 2009 until April 12, 2010. The in-person access to artworks of this elevation gives an opportunity for critique and interpretation from many viewpoints. It was in this spirit that Dr. Baldacchino granted permission for me to use my ad hominem notes from several visits during this showing period in order to offer my interpretation of Water Lilies through a novel lens. Water Lilies In-class Presentation November 2010, Monets Water Lilies series is astounding in person. Its size is monumental, its change are overwhelming, and its broomwork is beautiful. Upon my initial viewings, several key aspects of the work became apparent to me. First the monumental perspective of the 3 paintings seemed interesting to me because it stands in contrast to many of the landscape paintings of the same time period. Second the brush strokes employ by Monet in these works seemed expressive and indispensable, specifically in the water reflections and surroundings areas. Lastly, Monets quaint style of brush stroke intrigued me. The Water lily triptych has a strong drawing quality about it that is excessively noticeable in many of Monets other artworks. He draws natures movement with his brush strokes rather than painting them. As a viewer felt, this technique gave me the effect of feeling closer to nature, as if having been face to face with elements of nature facing back at me. This water lily triptych created a romantic and natural atmosphere that caused me to become aware of the natural environment that I live in and appreciate this further. Considering Monet as naturalistic opens up a larger idea. As Temkin and Lawrence explain, Artists ambition to create a panorama that enveloped the viewer, an environment that in todays parlance would be called an installation (Temkin&Lawrence, p.9). As the racy Museum states, these installations were sometimes large in size. Monet created 250 different water lily paintings and 19 were large panels (High Museum, 2009). The unique way he wanted to view these triptych paintings in the gallery space was interesting to me. As always, there is no interpretation of the horizon or ponds edge, but here the viewer is treated to an exceptionally proportionate expanse of painted reverie. Softly flowing passages of cloud reflections, overhanging foliage, lily pads, and water share the space without dramatic ensuant (Temkin& Lawrence, p.34). The Water lilies panel caused two things to