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001			12897789
003			OSt
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008			990517s2025 gw abch 001 0beng
010			_a 2002426707
015			_aGB99-38259
020			_a9783836551014 _chard cover
035			_a12897789
035			_a(OCoLC)41389576
040			_aUKM _cFEU CAVITE LIBRARY _dBXM _dOHX _dDLC
042			_alccopycat
043			_ae-fr---
050	0	0	_aND553.M7 _bW55 1999
082			_2SHS 759.4 W67m 2025
100	1		_aWildenstein, Daniel, _d1917-2001.
245	1	0	_aMonet : _bthe triumph of Impressionism / _cDaniel Wildenstein.
246	3	0	_aMonet
246	3	0	_aTriumph of impressionism
260			_aKöln, Germany : _bTaschen, _c2025.
300			_a614 p. _bcolor illustrations ; _c20 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
365			_b1,675.00 _cPHP
366			_aFully Booked
500			_a"Wildenstein Institute."
500			_a"Conception and layout: Gilles Néret"--T.p. verso.
500			_aRevised version of the first volume of the four-volume catalogue published by Taschen.
500			_aIncludes index.
505			_aVolume 1. Monet, or, The triumph of Impressionism : Origins and birth The move to Le Havre The schoolboy Ochard's student early efforts His mother's death Caricatures Meeting Boudin Grant applications Paris Thomas Couture The Académie Suisse From Delacroix to Daubigny The Brasserie des Martyrs The impasse Conscription Algeria The meeting with Jongkind Exoneration Toulmouche Charles Gleyre and his Academy Life in the studio Chailly-en-Bière The demise of the Academy Honfleur The Rue de Furstenberg and the first Salon The luncheon on the grass Camille Women in the garden The birth of Jean A return to his roots A low point Madame Gaudibert Dream and awakening La Grenouillère Marriage Trouville and the war London Zaandam Rue de l'Isly Early days in Argenteuil and the trip to Rouen The Port of Argenteuil Income The Doncieux inheritance Tomorrow's men Impression Making the best of hard times Great encounters The Hôtel Drouot Misfortune in the Rue Le Peletier Ernest Hoschedé From Parc Monceau to the Château de Rottembourg The Gare Saint Lazare Leaving Argenteuil L'Ile de la Grande Jatte The Exposition Universelle The last Hoschedé sale Vétheuil : another new start Settling in As quick to hope as to despair The baritone scapegoat The death of Camille Merciless people, merciless winter Poverty and hope Icebreak and renewal The Gaulois affair "I am working furiously" Lavacourt at the Salon La vie moderne Flourishing The return of Durand-Ruel Conflicts Leaving Vétheuil Poissy and the collapse of the Union Générale Bank At "La Renommée des Galettes" From the Reichshoffen panorama to the Pourville seascapes "Will you like what I am bringing back?" From euphoria to despair Provisional reckonings and a further trip The Hôtel Blanquet at Étretat "The fiasco of my exhibition" Somewhere permanent to live Giverny Bordighera Monsieur Moreno, "a veritable Marquis de Carabas" Bordighera to Menton New difficulties Octave Mirbeau From the Lathuille Banquet to the International Exhibition The life of a landscape artist The Manneporte "Yesterday's Monet is dead" Zola's L'œuvre Young woman with a parasol Belle-Ile, Russell and Poly "Once I get started, nothing stops me" Gustave Geffroy The Château de la Pinède The whole gang Theo van Gogh's mezzanine and the Giverny Studio Anecdote versus fact The first grainstacks Chez Maurice Rollinat "If Flaubert had been a painter" "For ever Monet! for ever Rodin!" Homage to the memeory of Edouard Manet Monet as teacher Antonin Proust under fire Gustave Larroumet besieged "Don't make a martyr of yourself by desiring the impossible" Such a beautiful landscape Variations on a theme : The grainstacks Requiem for a man of letters From The grainstacks to The poplars The blue, pink, or yellow cathedral The marriages The Hôtel de Ville affair A pond to make, a cathedral to paint The New World, the Old World Legacies, sales, and added value Camondo, Sugnac and Cézanne Sandviken near Christiania As if in Japan "Cathedral revolution" Monet and the environment Returns and repetitions "So all of them are Manets, all Monets, all Pisarros" The Henri Vever Sale Léon Gérôme Maurice Guillemot, an inspired reporter Zola's admirable courage Boredom or new start "The Paganini of the rainbow" "So much pain and heartache" A "complete and unanimous" success Apotheosis or decline? The first series of Japanese bridges The first London Bridge pictures The dawn of the 20th century "I am a complete imbecile" London society The Centenniel Exhibition The water lily pond "This is not a country where you can finish a picture" The meadow Farewell to Vétheuil Towards a subjective Impressionism "Study and research, which will prove fruitful" Enthusiasm to order or spontaneous admiration? "Gardening and painting apart, I'm no good at anything" London : the Entente Cordiale Louis Vauxcelles at Giverny A pond of light Delicate comparisons and a well-orchestrated campaign Social progress? An Autumn in Venice The Water Lilies Exhibition in 1909 From decoration to abstraction The flood of 1910 The death of Alice "I am completely fed up with painting..." Onset of the cataract "I feel I am undertaking something very important" A studio constructed in the midst of war The grand decorations before all else A triumph in two panels The law of silence The donation made public From the Hôtel Biron to the Orangerie The donation is formalised Preparing for the cataract operation An operation in three stages The patience of Dr. Coutela The "Patriarch of Art" "As if he had all eternity before him" From Charles Cotela to Jacques Mawas The donation under threat The swan song "Nothing to be done" "Monet...may still get back in the saddle" "A disease which cannot be cured" The last remission A gentle death The funeral Epilogue Index of proper names List of illustrations Acknowledgments
520			_aNo other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.
600	1	0	_aMonet, Claude, _d1840-1926.
648			_2Art _aModern (late 19th century to 1945) _xHistory
650		0	_aPainters _zFrance _vBIOGRAPHY.
650		0	_aArt _vMonographs _xIndividual Artists
650		0	_aImpressionist artists _zFrance _vBIOGRAPHY.
650		0	_aImpressionism (Art) _zFrance
655		7	_aBiographies. _2lcgft _0https://id.loc.gov/authorities/genreForms/gf2014026049
700	1		_aMonet, Claude, _d1840-1926.
710	2		_aWildenstein Institute.
887			_2SH0815
906			_a0 _bibc _ccopycat _d2 _encip _f20 _gy-gencatlg
942			_2ddc _cBK _n0
999			_c13565 _d13565