![]() ![]() From there they made trips to Normandy, the Mediterranean coast, England, Norway and Italy. In 1883 Monet retired to Giverny, north-east of Paris, with Alice Hoschedé (the wife of the collector of Impressionist works, Ernest Hoschedé, whom he later married after Hoschedé died in 1891) and their children and they spent the rest of their lives there. It was there that he started on the series of paintings repeating similar themes under changing atmospheric conditions. In this village, which was much quieter and more rural than Argenteuil, Monet was extremely productive and, unlike before, focused on the beauty of nature and on capturing solitary landscapes with no trace of human life. From 1878 to 1881 he, his wife Camille and their children lived in Vétheuil, where Camille died. During these years this village on the banks of the Seine became a sort of centre of Impressionism, where he was joined by Camille Pissarro, Alfred Sisley, Pierre-Auguste Renoir and Édouard Manet, among others. After living in London and Holland during the Franco-Prussian war, Monet returned to France in 1872 and settled in Argenteuil with his family until 1878. ![]() His Impression, Sunrise (Paris, Musée Marmottan Monet), shown in the First Impressionist Exhibition in 1874, gave its name to this style. ![]() ![]() Monet and Auguste Renoir were the first artists to use the loose brushstrokes characteristic of Impressionism. After studying for a short period at the Académie Suisse in Paris, he took up plein air painting as a self-taught artist, striving to study the effects of light and time on nature. So you see Monet in our new second temporary exhibition space and it’s very different look for the NGA.’ As Impression, Sunrise is strictly loaned for short periods, the exhibition has a limited 3-month run but Mitzevich now has a promising second exhibition space to play with.Claude Monet, the undisputed leader of the Impressionists, spent his childhood in the French town of Le Havre, where he began to paint landscapes of the Normandy coast together with Eugène Boudin and Johann Jongkind. I’m not going to be defined by summer, winter or autumn. He said, ‘We’re going to have exhibitions all the time. But Mitzevich does not see the need to follow old timelines. According to Mitzevich, the space was only completed two weeks before the opening and sees a return to the temporary gallery space to open up two spaces to show work.Īfter 2018’s Cartier, this exhibition establishes a pattern of winter blockbusters. The design is sympathetic with architect Col Madigan’s design for the NGA but has dark tones to the walls to bring out the individual works. The exhibition space has been reconditioned for the exhibition, hanging the key works generously to allow for visitors to flow past but also take their time and consider every whorl of paint, every dot of detail. He said, ‘This is an exhibition that covers well-trodden terrain, but we hope that we tell a story that Australians haven’t been seen before and we bring a work that has been unseen in Australia before.’ Both of these schools led to the popularity of landscape art along with the harbour images of both Monet and Turner.Īppointed to the NGA in July 2018, this exhibition is something of a calling card for Mitzevich, signalling the kind of stories he sees the gallery telling. But the exhibition adeptly locates Monet and his work in the artistic context of British painters (JMW Turner is featured heavily, as Monet encountered his work when escaping to London during the Franco-Prussian War) who in turn influenced French painters of the Barbizon School. These are after all some of the best known Impressionist pieces in Australia so they are given clear sightlines on entering the latter Monet-focussed spaces. Of course the exhibition also includes the NGA’s pair of Monets – Haystacks, midday and Waterlilies – purchased in 1979 and a popular part of the collection ever since. The work was owned by private collectors before being donated to the Musée Marmottan Monet so its influence is often forgotten beside better-known works. This exhibition is built around this key artwork which is hung in a fresh open space, viewed on a whole wall to highlight its significance. On an exclusive loan from Musée Marmottan Monet – the painting seldom leaves the Paris gallery for longer than a month – Monet’s Impression, Sunrise is the progenitor of the Impressionist Movement. What else can be said about Monet? According to this new winter exhibition at National Gallery of Australia (NGA), there’s an origin story to the French Impressionist that has never been seen in Australia before. Claude Monet’s Impression, Sunrise 1872, Musée Marmottan Monet, Paris. ![]()
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