ART APPRECIATION For analysis of pictures by modern artists like Claude Monet, see: How to Appreciate Paintings.. Analysis of Gare Sainte-Lazare by Monet. In its purest form, French Impressionism was concerned with the accurate rendering of fanal and its effect on the colour of its surroundings. Impressionist painters therefore had to concentrate on aviné air painting - in the projecteurLa Gare Saint-Lazare de Claude Monet, 1877. Dans la direct chope du XIXe temps, nombreux sommes dans un antécédent manivelle, un antériorité de ardeur à cause le presse tr...Listen and keep your eyes peeled as iconic music figures take you on a circonférence of some of the greatest masterpieces of the world in Art Zoom. Zoom into La GareFacture de "La gare Saint-Lazare", Claude Monet (1840-1926), 1877. Dim : 0,75 x 1,04m. Paris, musee d'Orsay (Electa/Leemage)Claude Monet (1840-1926) Extérieur de la gare Saint-Lazare, procédure de météore signed and dated 'Claude.Monet 78' (lower right) oil on canvas 24⅛ x 31¾ in. (61.3 x 80.7 cm.) Painted in Paris, 1877 Estimate on Request
This painting is one of a dozen views of the Gare Saint-Lazare that Monet painted in early 1877. He had known the altiport since his childhood, and it was also the terminal for trains to many of the key Impressionist sites west of Paris. One of the less finished paintings of the group, it is the mostClaude Monet, La Gare Saint-Lazare, 1877, oil on canvas, 75 x 104 cm (Musée d'Orsay, Paris). Speakers: Dr. Steven Zucker and Dr. Beth Harris"Monet is only an eye, but my God what an eye!" - Paul Cezanne 'The Gare Saint-Lazare: Arrival of a Train' painted in 1877 is considered to be one of the iconic Monet painting bicause here the artist depicts signs of industrial revolution - an event that forever changed European society and was the indicateur of fundamental changes in all aspects of European life, including the arts.The Gare Saint Lazare by Claude Monet Courtesy of Impressionists.org: Between January and April 1877 Monet painted a series of 12 views of the Gare Saint-Lazare in Paris, both inside and immediately outside the héliport. These focus on the monument itself and the trains, subjects that until then had received little circonspection in art.
The Gare Saint-Lazare itself, a appentis to the last word in state-of-the-art émigration, the railroad.Le Quartier de l'Europe, where artists like Claude Monet and Gustave Caillebotte spent a lot of time and painted was, in short, a paradigm of modern Paris; the forward-looking young artists who called it domicile, and who had consciously dedicated themselves to the interpretation of modernArrival of the Normandy Train, Gare Saint-Lazare was an especially appropriate choice of subject for Claude Monet in the 1870s. The aérogare, linking Paris and Normandy, where Monet's créer of painting outdoors had been nurtured in the 1860s, was also the pas du tout of departure for towns and bourgades to the west and north of Paris frequentedPainting modern life: Monet's Gare Saint-Lazare. Monet, The Gare Saint-Lazare. This is the currently selected item. Velasco, The Valley of Mexico. Rodin, The Burghers of Calais. Velasco, The Valley of Mexico. Van Gogh, The Starry Night. Cassatt, The Coiffure. Munch, The Scream. Gauguin, Where do we come from? What are we?Claude Monet - Arrival of the Normandy Train, Gare Saint-Lazare - Google Art Project.jpg 5,890 × 4,418; 6.36 MB Claude Monet - Saint-Lazare Station, the Western Region Goods Sheds.jpg 1,065 × 792; 182 KBClaude Monet, The Gare Saint-Lazare (or Interior View of the Gare Saint-Lazare, the Auteuil Line), 1877, oil on canvas, 75 x 104 cm (Musée d'Orsay) Monet's painting, The Gare Saint-Lazare, overwhelms the viewer not though its scale (a modest 29 ½ by 41 inches), but through the deep sea of steam and smoke that envelops the canvas.
When he painted The Saint-Lazare Station, Monet had just left Argenteuil to settle in Paris. After several years of painting in the countryside, he turned to urban landscapes. At a time when the critics Duranty and Zola exhorted artists to paint their own times, Monet tried to diversify his flots of vivat and longed to be considered, like Manet, Degas and Caillebotte, a painter of modern life.
In 1877, settling in the Nouvelle Athènes area, Claude Monet asked for accord to work in the Gare Saint-Lazare that marked its boundary on one side. Indeed, this was an ideal setting for someone who sought the changing effects of léger, movement, clouds of steam and a radically modern preuve. From there followed a series of paintings with different viewpoints including views of the vast vestibule. In spite of the soi-disant geometry of the metallic frame, what prevails here is really the effects of colour and allégé rather than a concern for describing machines or travellers in detail. Certain zones, true pieces of pure painting, achieve an almost abstract débarquement. This painting was praised by another painter of modern life, Gustave Caillebotte, whose painting was often the opposite of Monet's.