His outdoor paintings, she notes, were clearly embellished by the artist, as he would often finish such works indoors. Spate's criticism is also leveled at Monet's dishonesty regarding the style of his paintings. The critic believes that Monet may have been influenced by France's desire to compete as a major force in the art world once more. Virginia Spate suggests that Monet's turn to series paintings may have been for monetary and political reasons as opposed to artistic ones. The critic notes that this change went hand-in-hand with the changing social conditions in France at the time. A recent study of Monet's works by Duchamp-scholar George Heard Hamilton notes that some of Monet's works were considerably philosophical and poetical. Modern criticism, in hindsight of his collected works paints a more complex picture of the artist. Paul Cezanne noted that his friend was "only an eye, but, good Lord, what an eye!" Contemporary criticism seemed determined to label Monet as someone who was purely concerned with the visceral and such an obsession made his work somewhat simple. Monet's contemporaries described him as portraying "retinal painting". With collated evidence some have noted that Monet's motives may not have been as straightforward as they first seemed. Yet, despite the positives, some modern day critics are more sparing with their praise for Monet. Monet's legacy and the peoples' love for Impressionism is still clear from the myriad of galleries and effusive praise after his death. In addition to this some critics are dubious of Monet's artistic integrity with regards to his money making endeavors, of which he was greatly successful. Amongst Monet's modern day critical reception many essayists and scholars believe that there was more incentive behind Monet's Impressionist style than merely the artistic ideals. As Impressionism began to be accepted more and more into the mainstream of artistic institutions, this view softened into praise. Monet's vision was appreciated and derived in equal measure among his contemporaries. For the artist involved in this movement the depiction of light and the color was at the center of their new creative vision. At its inception critics didn't quite understand that the concentration of Impressionism wasn't the traditional detailed view of peoples and places that had previously marked such works. Like many Impressionist painters, Claude Monet received a great deal of harsh criticism for his vibrantly bold new artistic movement.
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