View Full Version : Master of the Month (MOM) for April --MONET

04-07-2008, 04:02 PM
(originally posted by ARTBABE21 for Master of the Month #18 June 2005)
Welcome everyone to the Master of the Month for April 2008! Featuring painting selections of Monet, who just happens to be one of MY personal favorite impressionist painters.

Please do join us painting these remarkable examples of this original painter of light! Everyone is welcome at every level of of artistic achievment.

Haystack, End of Summer, Morning
oil on canvas 1891
60 x 100 cm
Louvre, Paris, FR

higher resolution image pg.1

Soft touches in background are contrasted with more accentuated broken brushwork of the water in the foreground. Hints of blue in shadows of the bridge & trees which are answered by warmer hues in sunlit regions & water's reflection under the bridge.

From a distance of ten feet or so, Monet's brushstrokes blend to yield a convincing view of the Seine and the pleasure boats that drew tourists to Argenteuil. Up close, however, each dab of paint is distinct, and the scene dissolves into a mosaic of paint -- brilliant, unblended tones of blue, red, green, yellow. In the water, quick, fluid skips of the brush mimic the lapping surface. In the trees, thicker paint is applied with denser, stubbier strokes. The figure in the sailboat is only a ghostly wash of dusty blue, and the women rowing nearby are indicated by mere shorthand.

Roadbridge at Argenteuil
oil on canvas 1874
60 x 80 cm
National Gallery of Art, Washington, DC

higher resolution image pg.4

Monet's Haystack series are not just an impression of a landscape as seen through his eyes but an artfully contrived series of paintings that convey meaning through the technique he used executing them.

Twenty paintings were created in a field near Monet's home in Giverny in the late summer of 1890 to winter 1891 where he worked onsite & finished them in the studio.

Monet created a feeling of texture in grain & grass through use of underlying texture strokes. Unable to render a landscape in the exact moment He used a layering technique to create the illusion of a moment in time caught quickly by the artist.

Claude Oscar Monet

Claude Monet (1840-1926) is one of the most famous and prolific artists that ever lived. As a young man he rebelled against the traditional painting methods of his day. Monet wanted to paint pictures that captured the mood of his surroundings. He was interested in the effects that light had on his subject at different times of the day, or in different seasons.

Born November 14, 1840, in Paris, France. Claude Monet was a seminal figure in the evolution of Impressionism, a pivotal style in the development of modern art. In 1845 his family moved to Le Havre, and by the time he was 15, Monet had developed a local reputation as a caricaturist. Through an exhibition of his caricatures in 1858, Monet met Eugène Boudin, a landscape painter who exerted a profound influence on the young artist. Boudin introduced him to outdoor painting, an activity that he entered reluctantly but which soon became the basis for his life's work.

By 1859 Monet was determined to pursue an artistic career. He visited Paris and was impressed by the paintings of Eugène Delacroix, Charles Daubigny, and Camille Corot. Against his parents' wishes, Monet decided to stay in Paris. He worked at the free Académie Suisse, where he met Camille Pissarro, and he frequented the Brasserie des Martyrs, a gathering place for Gustave Courbet and other realists who constituted the vanguard of French painting in the 1850s

Monet's studies were interrupted by military service in Algeria from 1860 to 1862. The remainder of the decade witnessed constant experimentation, travel, and the formation of many important artistic friendships. In 1862, he entered the studio of Charles Gleyre in Paris and met Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille. During 1863 and 1864, he periodically worked in the forest at Fontainebleau with the Barbizon artists Théodore Rousseau, Jean François Millet, and Daubigny, as well as with Corot. In Paris in 1869, he frequented the Café Guerbois, where he met Édouard Manet.

At the outbreak of the Franco-Prussian War in 1870, Monet traveled to London, where he met the adventurous and sympathetic dealer Paul Durand-Ruel. The following year Monet and his wife, Camille, whom he had married in 1870, settled at Argenteuil, which became a semi-permanent home (he continued to travel throughout his life) for the next six years.

Monet's constant movements during this period were directly related to his artistic ambitions. The phenomena of natural light, atmosphere, and color captivated his imagination, and he committed himself to an increasingly accurate recording of their enthralling variety. He consciously sought that variety and gradually developed a remarkable sensitivity for the subtle particulars of each landscape he encountered. Paul Cézanne is reported to have said that "Monet is the most prodigious eye since there have been painters."

Relatively few of Monet's canvases from the 1860s have survived. Throughout the decade, and during the 1870s as well, he suffered from extreme financial hardship and frequently destroyed his own paintings rather than have them seized by creditors. A striking example of his early style is Terrace at Sainte-Adresse (1867). The painting contains a shimmering array of bright, natural colors, eschewing completely the somber browns and blacks of the earlier landscape tradition.


As William Seitz wrote in 1960, "The landscapes Monet painted at Argenteuil between 1872 and 1877 are his best-known, most popular works, and it was during these years that Impressionism most closely approached a group style. Here, often working beside Renoir, Sisley, Caillebotte, or Manet, he painted the sparkling impressions of French river life that so delight us today." During these same years, Monet exhibited regularly in the Impressionist group shows, the first of which took place in 1874. On that occasion his painting Impression: Sunrise (1872) inspired a hostile newspaper critic to call all the artists "Impressionists," and the designation has persisted to the present day.


Monet's paintings from the 1870s reveal the major tenets of the Impressionist vision. Along with Impression: Sunrise, Red Boats at Argenteuil (1875) is an outstanding example of the new style.


In these paintings, Impressionism is essentially an illusionist style, albeit one that looks radically different from the landscapes of the Old Masters. The difference resides primarily in the chromatic vibrancy of Monet's canvases. Working directly from nature, he and the other Impressionists discovered that even the darkest shadows and the gloomiest days contain an infinite variety of colors. To capture the fleeting effects of light and color, however, Monet gradually learned that he had to paint quickly and to employ short brushstrokes loaded with individualized colors. This technique resulted in canvases that were charged with painterly activity; in effect, they denied the even blending of colors and the smooth, enameled surfaces to which earlier painting had persistently subscribed.

Yet, in spite of these differences, the new style was illusionistically intended; only the interpretation of what illusionism consisted of had changed. For traditional landscape artists, illusionism was conditioned first of all by the mind: that is, painters tended to depict the individual phenomena of the natural world-leaves, branches, blades of grass-as they had studied them and conceptualized their existence. Monet, on the other hand, wanted to paint what he saw rather than what he intellectually knew. And he saw not separate leaves, but splashes of constantly changing light and color. According to Seitz, "It is in this context that we must understand his desire to see the world through the eyes of a man born blind who had suddenly gained his sight: as a pattern of nameless color patches." In an important sense, then, Monet belongs to the tradition of Renaissance illusionism: in recording the phenomena of the natural world, he simply based his art on perceptual rather than conceptual knowledge.

During the 1880s, the Impressionists began to dissolve as a cohesive group, although individual members continued to see one another and they occasionally worked together. In 1883 Monet moved to Giverny, but he continued to travel-to London, Madrid, and Venice, as well as to favorite sites in his native country. He gradually gained critical and financial success during the late 1880s and the 1890s. This was due primarily to the efforts of Durand-Ruel, who sponsored one-man exhibitions of Monet's work as early as 1883 and who, in 1886, also organized the first large-scale Impressionist group show to take place in the United States.

Monet's painting during this period slowly gravitated toward a broader, more expansive and expressive style. In Spring Trees by a Lake (1888) the entire surface vibrates electrically with shimmering light and color. Paradoxically, as his style matured and as he continued to develop the sensitivity of his vision, the strictly illusionistic aspect of his paintings began to disappear. Plastic form dissolved into colored pigment, and three-dimensional space evaporated into a charged, purely optical surface atmosphere. His canvases, although invariably inspired by the visible world, increasingly declared themselves as objects that are, above all, paintings. This quality links Monet's art more closely with modernism than with the Renaissance tradition

Modernist, too, are the "serial" paintings to which Monet devoted considerable energy during the 1890s. The most celebrated of these series are the Haystacks (1891) and the facades of Rouen Cathedral (1892-1894). In these works Monet painted his subjects from more or less the same physical position, allowing only the natural light and atmospheric conditions to vary from picture to picture. That is, he "fixed" the subject matter, treating it like an experimental constant against which changing effects could be measured and recorded. This technique reflects the persistence and devotion with which Monet pursued his study of the visible world. At the same time, the serial works effectively neutralized subject matter per se, implying that paintings could exist without it. In this way his art established an important precedent for the development of abstract painting.

Monet's wife died in 1879; in 1892 he married Alice Hoschedé whom he had been living with in Giverny, a village along the Seine about 46 miles to the west of Paris, in 1883. Here, he designed a pond, redesigned much of the garden and, most famously, created those paintings of water lilies, flower beds and the Japanese footbridge. However, many of these later works do not fit the classic definition of Impressionism. Monet's technique underwent an enormous change while at Giverny.

But at Giverny, Monet's work increasingly begins to reflect his memory and emotions, rather than an impression of a transitory scene. Monet's painting style also became more "physical": The minute brushstrokes of his earlier work give way to broader brushstrokes. If the 1870s were about wrist movements ..., the 1920s were about body gestures.

Along with the more "physical" motion of the brush, Monet's canvases grew larger, requiring more physical movement on the part of the viewer. Monet created the Grandes Decorations 1918-1926 - sweeping, large-scale paintings of light and images reflected in his lily pond - on panels more than 6 feet high and 9 feet wide. The paintings were intended to surround viewers, who would have to walk around a gallery to look at them.

Monet felt more liberated to experiment with technique * to use larger canvases and rely less on constantly checking a motif * because, in his garden, he could control nature. Here, a motif was not the result of an accident but, rather, the result of deliberate organization: Monet designed the flower beds and coordinated the colors. When a white lily petal was soiled by soot, it was wiped clean.

The garden was planted in light of paintings not yet painted, and paintings took on a kind of audacity in light of the fact that they were responding to a garden that had already been organized. So you get this kind of reciprocal relationship between gardening and painting. Monet ranged more widely with his technical experimentation than when he was facing the chaos of what we may call raw nature. In this way, the garden was more than a subject, but it was a site * a site for a specific way of seeing and, finally, a specific way of painting.

For Monet, the garden was a living still life that freed him to plumb the depths of his memory and emotions, rather than simply record his "impression" of a scene.

In the same way, the series of hut-shaped haystacks Monet painted between 1890 and 1891 were, by roughly the same definition, still lifes. The hay would remain in the same form day after day. Here, we find Monet daring to experiment with color and technique in new ways.

In 1912, Monet was diagnosed with a cataract in his right eye. Eventually, cataracts affected both eyes. The painter's failing vision pushed him even more in the direction of depicting memory and emotion.

Monet's later paintings of the weeping willow, the wisteria and the Japanese footbridge, among other denizens of his garden, should not be considered geographical landmarks. Rather, they reflect the complex of sensations and memories left over - what we take away --when we visit the garden.

Many of these later paintings verge on the abstract, with colors bleeding into each other and a lack of rational shape and perspective. For example, "The House Seen from the Rose Garden, 1922-1924," is an explosion of orange, yellow and red hues, but leaves the reader barely able to discern the vague shape of the house in the background.Monet's diminished sight opened up a new vista for his art, one in which memory and the unseen play a more important role than the perceptions of direct experience.

In a certain sense, we must learn to see these last pictures of his garden at Giverny not as increasingly confused by his inability to see clearly, but as pictures in which Monet's memory traces of the site he had planted and tended and lived with so long - the paths, the plants and the waterways of his garden - came to replace the ever more fragile images of his failing eye.

In addition to his physical ailments, Monet struggled desperately with the problems of his art. In 1920, he began work on 12 large canvases (each measuring 14 feet in width) of water lilies, which he planned to give to the state. To complete them, he fought against his own failing eyesight and against the demands of a large-scale mural art for which his own past had hardly prepared him. In effect, the task required him to learn a new kind of painting at the age of 80. The paintings are characterized by a broad, sweeping style; virtually devoid of subject matter, their vast, encompassing spaces are generated almost exclusively by color. Such color spaces were without precedent in Monet's lifetime; and moreover, their descendants have appeared in contemporary painting only since the end of World War II.

Until the end of his life Monet continued to paint in his beloved Giverny.

from 1860 on
white lead, cad yellow, vermillion, rose madder, cobalt blue, chrome green

one other source added alizarin crimson, burnt sienna & true emerald Veronas green.......so not sure which source is completely correct.

Painting technique
2.Series of texture strokes
3.Application of surface strokes, a number of deliberate stages to reach the final product.

Successsive steps of layering textured and non textured paint, distinctive brushstrokes such as texture, surface, modeled, directional, skip, highlight strokes were applied. He began with texture strokes, thick strokes of paint that were applied & allowed to dry before others layers. Their actual color was usually covered over entirely. Next he used surface colors, lines & strokes of the actual colors seen on the canvas over the textural stroke, usually they were thin opaque coatings with little thickness or texture. They illuminated but did not disturb or alter the original textural strokes. Drawn strokes highlighted the textural strokes & created an imitation of a large hasty brushstrokes that would appear to be diliberate.

There was a varied use of color throughout. Often there would be 18 different hues in an area of only a few square inches. His desire to depict the changes in light on a surface to establish a sense of depth was his constant ambition.

Monet used the layering techinique in order to cresate the illusion of a moment in time quickly caught by the artist.

"When you go out to paint, try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naive impression of the scene before you." claude monet

~Be COURAGEOUS, It's one of the few places left still uncrowded~


~Life is not measured by it's length BUT by it's depth~
Last edited by artbabe21 : 06-04-2005 at 11:35 AM.

04-07-2008, 05:30 PM
Karen... thanks so much for launching and taking the lead on this one! :clap:

04-08-2008, 12:05 AM
While doing some online research, I found this web site devoted to Monet which may be useful:


I'd also like to suggest that the painting examples given are not the only ones to paint. The website above shows many of his paintings, which you may find inspirational.

I am fascinated with Monet's lily paintings, and have done one previously which I really enjoyed painting. I recently built a pond in my backyard, and planted lily pads. I plan use it as inspiration to paint from life in Monet's style for this month's Master study.

On a trip to Paris, I was able to visit the garden at Giverney, and I took many photos to paint from later. I will scan and post them to use for reference for those who might want to paint from photos.

To kick off the thread, I'll share my Monet-style paintings, all oil on canvas, even though these were painted a few years ago. I plan to do new ones this month, and may give the "Haystacks" a try.


Copied from one of Monet's "Lilies"-- I recent got to see the original at an exhibit in Seattle, WA.


Painted from my photo reference of the famous bridge...


Ditto. They still use the same type of "low boat" to clean the pond as they did back then. It is a beautiful place, magical even.

04-08-2008, 12:38 AM
Here is another good resource, which includes museums and galleries around the world with Monet paintings; books and articles on Monet; and other related web sites:


Happy painting!!

04-08-2008, 02:54 PM
Just popping in to add a quick link for those who may be wanting some additional references. The Monetalia site also has a nice list of paintings, if anyone is interested in taking a peek.


I'm sorry to have missed out on last month's MOM, but hopefully will have time to play with April's challenge. Oh, and a big thumbs up to kwg aka Karen for taking the initiative to start up this month's MOM.:thumbsup:

04-08-2008, 05:30 PM
Here's the link to Monet reference images here on Wet Canvas:


There are Monet paintings and some great pics of the garden.


04-08-2008, 05:42 PM
And another thread with WC members discussing the painting technique:

04-10-2008, 10:31 PM
OMG Karen!! Thank you so much for taking the lead and doing this again!! I've been waiting for a new project. If volunteerism is down - I wouldn't mind helping to keep this going. I'm crazy busy all the time - but for the love of these projects - I will help if I can. I've had so many compliments on the original project I did that Cath posted a year, (or couple) ago!! I've always wanted to do another - so this is going to be FUN!

Hey BERNIE!!!! :heart:


04-10-2008, 10:34 PM
OMG - where does time go? :crying: ALMOST 3 YEARS AGO? unbelievable. BUT WOW - a great idea to go back to some of the original projects!!! They are timeless, just like the Masters' studied! THANK YOU SO MUCH Karen! Cool idea!!

Carey Griffel
04-11-2008, 05:17 AM
Wow, Karen, thanks for doing that! Unfortunately I'm still off-line at home...seems that cable internet here is just getting started, so it's taking some time to get hooked up! (Assuming we're even able to...)

I just got all of my art supplies back (thank goodness they didn't sink in the ocean!) so if I get some time in between unpacking, I'll try to join in!

Monet is a great selection!


04-11-2008, 09:13 AM
Hey Tina and Carey...

04-11-2008, 05:02 PM
Painted by request, for someone who wanted it as a Christmas present.

After Monet's "White Bridge."


04-11-2008, 09:14 PM
Bravo Lawrence!

04-11-2008, 11:46 PM
this is my second post here and my 8th painting, just started in dec 07, i was realy inspired by monet ( my 1st post was also a try at monet ) its oil on canvas 16 x 20. the reference i used, the background was more clear than the one in this thread. http://www.wetcanvas.com/Community/images/11-Apr-2008/128941-me_006.gif
all c&c is most welcome, colin

04-12-2008, 12:46 AM
Colin that is a beautiful and dramatic painting - fantastically done!!!!

Thankyou Karen, greatly appreciated for all the work and effort you have put into this. I will also put my hand up as a volunteer if needed!

04-12-2008, 01:22 PM
Beautiful work, Laurence and Colin!! Thank you for participating. I look forward to seeing more!!

I'm going to try my hand at the following:


It's a real departure for me, but I really love the soft muted colors, the sense of depth and the lighting.

It will be a challenge!!

04-12-2008, 11:56 PM
Firehorse, Karen. thanks for your kind comments


04-13-2008, 11:31 PM
What interests me about this one is the value of the red/orange of the sun, which if seen as a "Grey Scale" image, almost disapears from sight!
This must mean the value of the color next to the sun is the same - yes/no?



04-14-2008, 09:24 AM
It doesn't seem right to me. While it may be possible that the value is the same, the intensity isn't. The orange seems to have virtually "disappeared" everywhere (reflections, sky, etc.). In the color version, the setting sun is a focal point; in the B&W the foremost boat becomes the focal point and the composition changes dramatically. I'll bet if you photocopy the color print-- the sun and all the oranges would appear blacker. Copy machines "see" reds as black. Digital manipulation is different. So, Graham-- trust your eye and your gut!! IMHO, anyway.

04-14-2008, 09:58 AM
This must mean the value of the color next to the sun is the same - yes/no?

Yes. The value is the same.

While it may be possible that the value is the same, the intensity isn't.

Both hue and chroma are different - chroma is much higher.

In situations where values are moderately high, and chromas are high, the high chroma is often confused with high value.

Oh - and congrats on keeping the MOMs going, Karen :thumbsup:


04-14-2008, 04:42 PM
Thanks, Dave. I remember seeing this before and was/am as amazed as Karen is.

04-15-2008, 10:25 AM
Here's a quickstudy after Monet that I splashed on this morning.


04-15-2008, 12:08 PM
Lawrence: Splashing on a Monet! Sounds like dripping off a Pollock.
A style or a technique of sorts. :)

04-16-2008, 05:01 PM
Graham, splashing and dripping sounds like a great combination. Maybe we can form a new school of art. :wave:

04-18-2008, 03:28 PM
Awesome work Colin!

04-18-2008, 03:29 PM
Nice work Lawrence... glad you shared it here.

04-20-2008, 03:12 PM
Thanks, cousin Bernie.

04-20-2008, 11:38 PM
Berine thank you:)

04-22-2008, 12:35 AM
Wheeeeeeeeeeeeee! I did it!! I made one. And I am thrilled with it. Just love Monet's water lily paintings and have been longing to try one. The first one I did turned out so blachg. This is my second effort and why I think it turned out better is because it is small... which is comforatable for me if I am not sure of what I am doing.

So here it is... aprox 3inches by 8 inches.

Sorry the picture is skew, dont know how to straighten it.

Comments welcome.



http://www.wetcanvas.com/Community/images/22-Apr-2008/60853-Waterlillies_April08_detail_B.jpg detail some impasto

http://www.wetcanvas.com/Community/images/22-Apr-2008/60853-Waterlillies_April08_detail_A.jpg detail lots of impasto

04-22-2008, 05:02 PM
A beautiful painting, Tereza. Just goes to show that good things come in small packages.

04-23-2008, 01:47 PM
Splash-a-dripped this off the brush in 1 hr.
Not trying to capture the sunrise myself, but I bet Monet was!
16 x 12 - Vermillion, Colbat Blue, Flake White, Raw Umber.


04-23-2008, 04:11 PM
Great splash-a-drip! You've really captured it.

04-23-2008, 11:50 PM
Thank you Lawrence, I need all the encourgment I can get.

Have a great day


04-24-2008, 11:43 AM
Thanks, cousin Bernie.

04-24-2008, 11:51 AM
Wheeeeeeeeeeeeee! I did it!! I made one. And I am thrilled with it. Just love Monet's water lily paintings and have been longing to try one. The first one I did turned out so blachg. This is my second effort and why I think it turned out better is because it is small... which is comforatable for me if I am not sure of what I am doing.

So here it is... aprox 3inches by 8 inches.

Sorry the picture is skew, dont know how to straighten it.

Comments welcome.



http://www.wetcanvas.com/Community/images/22-Apr-2008/60853-Waterlillies_April08_detail_B.jpg detail some impasto

http://www.wetcanvas.com/Community/images/22-Apr-2008/60853-Waterlillies_April08_detail_A.jpg detail lots of impasto

Congrats Tz! This is superb! I love the format! :clap:

04-24-2008, 08:06 PM
Here's another, "Champs De Tulips En Holl"
12 x 16 oil on canvas


Thanks for looking

04-25-2008, 12:46 AM
And thank you Bernie.

Its great to see what the other artists are producing for this thread. I enjoy every one of them. Congratulations to you all.


04-25-2008, 08:05 PM
I just purchased a 20" x 24" canvas to attempt Monet's field of poppies. I've never painted anything that large in any medium. I now need the courage to remove the plastic packaging.
I've always wanted to buy a print of this painting. I have it as my screen saver at work so I could look at it and start planning my strategy. I've only painted less than a dozen paintings in oil and it's been a few months since my last one so I'm looking forward to painting again.

04-26-2008, 03:20 PM
Nicely done, yellowman, I didn't remember this one but found it on the net. You've made a nice copy.

cat1lady, as they say, "journey of 1000 miles begins with first step." Good luck.

04-27-2008, 08:35 PM
Lawrence, thank you

Tereza, love the lillys.


04-29-2008, 01:13 AM
I've enjoyed looking at this thread. You are all inspiring.

04-29-2008, 09:48 AM
And it's not finished yet!

Here's a copy of Monet's "Turkeys," 1877. The original is in the Musée d'Orsay.


05-01-2008, 06:18 AM
Great work everyone!! I haven't been able to get going on my own Monet projects-- due to work, busy with kids' goings-ons, and the unfortunate death of a very good friend... can we extend Monet for another month?

05-01-2008, 05:16 PM
Holy smokes, Karen, I was wondering where you'd gotten to! So sorry to hear about the death of your friend.

Two months is current fare for the MOMs, right? We were a bit overenthusiastic with Vincent but that shouldn't cut into Monet's 2 months I reckon.

Look forward to seeing your project.

05-07-2008, 08:21 AM
Thnx KWG for starting monet. Ive just bought a painting of him! It wasnt cheap, but i enjoy it very mutch. There is a bridge and a train on it.

Ive tried to paint bridge of argenteuill? Its very difficult especially the reflections on water. Ill try to improve it. Maybe send it in here.

05-07-2008, 05:46 PM
Gosh wetbob, that's the best $41 million bucks you've ever spent--plus Christie's 12 % commission, of course.

05-10-2008, 01:36 PM
I just returned from NYC and got to see the fabulous Monets at MOMA (Museum of Modern Art), including this this series of huge water lily panels:


Now-- if I could only find the time to actually paint a Monet this month-- I will be a happy camper!!!

05-11-2008, 11:25 AM
C'mon Karen, you promised.

05-11-2008, 01:42 PM
Check out my blog, Humphrey-- you can't believe how busy I got all of a sudden! Have 3 weddings to paint this month, going to Dallas next week, painting a neighbor's attic mural (clouds, sunflowers, birds & butterflies "a la Mary Englebreight"); exhibited at a show and painted live on Friday night, and have graphic design deadlines before I get on the plan Wednesday morning. Whew!! But I will do a Monet piece-- some way, somehow...

05-11-2008, 01:47 PM
Thnx KWG for starting monet. Ive just bought a painting of him! It wasnt cheap, but i enjoy it very mutch. There is a bridge and a train on it.

Ive tried to paint bridge of argenteuill? Its very difficult especially the reflections on water. Ill try to improve it. Maybe send it in here.

WOW, Wetbob!! I'm dying to know what Monet you own.... congratulations!! Can you post a pic of it????

05-16-2008, 10:53 PM
I found this one, one I haven't seen before:


05-22-2008, 11:27 AM
Other than my work-- I havn't had time to paint for fun, but my travels allowed me to see great art. This Monet, "Weeping Willow, 1918-19" was hanging at the Kimbell Art Museum in Ft. Worth, Texas. It was beautiful to see all the built up layers-- Monet really put the paint on thick!


05-29-2008, 11:09 PM
Hi everyone, I'm a newbie(I spent a little time in the WDE back in April,) and I just returned from Paris last week and I saw the Waterlily panels in the Musee L'Orangerie and I have photos of them and other Monets from the Musee d'Orsay. The waterlily panels are just breathtaking...you look at them for five minutes and then all of a sudden it hits you how wonderful they are. They are huge with great saturation of color, economy of subject matter.... I was mesmerized. It was a most fabulous experience. I would like to share some photos if there is any interest....I see this thread hasn't been active for over a week. Debbie K.

05-30-2008, 12:33 AM
Hi Debbie,

Yes please. Do show the photos.

Have been keeping tabs on this thread but have been busy painting other things since I finished my small Monet showen earlier in the thread.

Thank you for your offer to show. Am looking forward to seeing the photos.


05-30-2008, 09:34 AM
Great! I'll get them up over the weekend. I even have macro shots of some of the waterlilies, to show the layers of color and the brush strokes. I wish that everyone who loves art could see these paintings. I get goosebumps just thinking about the paintings and being there in the rooms with them. It was an incredible experience. My line to my husband was "It's so beautiful I could just cry!", with a big smile on my face.:clap:

05-30-2008, 12:41 PM
I'm really going to try to do something (small!)... I've been so busy this month, tired and sore, but I still want to contribute something. Thanks to everyone for participating! What shall we do for the next two months? Anyone want to host?

05-31-2008, 02:03 AM
Hi Debbie.

The suspense waiting for your pictures is dreadful!

There is no ways I am ever going to get to Paris to see the real thing so looking at some close up details is going to be a real pleasure.

At last I will see how Monet did those lilies of his.



05-31-2008, 08:24 PM
Hi, I've chosen and I am going to try to upload them now. I know that there is a button I can click on, but can I put all of the photos in one reply? I'll just fumble my way along(kind of like the way I paint :)) Here goes:http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1205.jpg

05-31-2008, 08:25 PM
I guess not!http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1206.jpg

05-31-2008, 08:27 PM

05-31-2008, 08:28 PM

05-31-2008, 08:29 PM
Sorry the last one was a little blurry.http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1212.jpg

05-31-2008, 08:29 PM

05-31-2008, 08:30 PM

05-31-2008, 08:32 PM
The last one is called "Sunset". I had never seen this one or the willow trees before.http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1216.jpg

05-31-2008, 08:33 PM
I meant that I had never seen the Sunset panel before.http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1216.jpg

05-31-2008, 08:35 PM
Ok, close-ups. No flash was allowed of course, and the lighting was excellent of course(it's French after all), and I did my best with camera settings, macro etc so I hohttp://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1204.jpgpe the detail comes through.

05-31-2008, 08:36 PM

05-31-2008, 08:39 PM

05-31-2008, 08:43 PM
And did you know that Monet also painted turkeys? This hangs in the Musee d'Orsay.http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1326.jpg

05-31-2008, 08:45 PM
Enjoy. Hope I didn't do anything naughty. I'll be bold and post the photo my husband took of me on our last day in Paris having un cafe.http://www.wetcanvas.com/Community/images/31-May-2008/135624-0805Europecopy_1332.jpg

05-31-2008, 11:59 PM
Thank you and thank you again Debbie.:clap: :clap: :clap:

You got the sweep of the canvases.... gives some idea of long they realy are.

What a revealtion to see the photos of some of the lillies themselves! They are just lovely... that blue one !!!!!! This has been well worth waiting for.:heart:

Note to self...... dont forget to buy lottery ticket this week. Keep focused... trip to Paris.

Happy Sunday :D


06-01-2008, 08:50 AM
Will their be a new master for this month?

Andre Jacques
06-01-2008, 03:01 PM
Im a newbie to this forum and oil painting
I have gained a real admiration for the Impressionist movement
I would just like to congratulate everyone on their works on this thread

although this is my first post i have followed this thread alot

Im sure i will be posting soon

Congrats to all


06-02-2008, 07:04 PM
Time to move this one to the Masters Sub-Forum...

If anyone wants to start a new MOM... feel free and I'll place a STICKY on it in the main forum.


06-03-2008, 05:29 AM
KWG thnx for your efforts. Im a little embarresed that i didnt send in a painting. I didnt had time.

I like Monet. Especially his reflections on the water. Paintings with train (stations), water and bridges and boats.

Well maybe the next time,

Au revoir et a bientot,


PS: ill send the photo to your e-mail box:D

12-31-2008, 11:12 AM
Congratulations, Tereza, this is lovely. Thanks for including the "detail" images.

04-12-2009, 10:36 PM
I know ... I'm a year off ... but I just joined and just started painting and love Monet. I know, if you've lived in a cave your entire life you probably know Monet and it's probably considered kitch or bourgeois by art snobs ... but I love the impressionist and in particular Monet. I spent a few years working in London and went to Giverny a few times just to spend an entire day hanging out in the gardens taking pictures and soaking it all in ... anyway - this is a big step for me since I think that in general my art is horrible, but I'm trying ... I wanted to post something I painted from a photo I took at the lilly pond -


Another -


These are very early paintings - I've been doing this for about 5 months ... perspective is a little dodgy and they clearly need some work. still wanted to share. feel free to comment / ridicule ... I just want to get better ...

thanks 0

04-13-2009, 03:20 PM
It's never too late to post on these threads, glad to see you're joining in. I especially like the first one.

Interesting to read about your trips to Giverny.

04-13-2009, 04:46 PM
I need to spend some time on my drawing skills - the second one has horrible perspective.

I was working in London and would make frequent trips to mainland Europe on weekends. Paris being a nice relaxing train ride away I would end up there on many weekends. So, while in Paris I took the train to Vernon / Giverny a few times to spend the day at Monet's estate. I took full advantage despite the fact that I was not painting as I had very little spare time with my job ... of course. Anyway, I would take the train out and spend the entire day loitering / taking pictures. I have hundreds of photos - some digital on my last trip and some physical before the development of an affordable digital SRL.

The place is magical. The gardens are amazing, the house is amazing, and the pond awe inspiring. There is also that element of knowing you are in the place where the master himself once stood working on a canvas ... seeing what he saw, but never really seeing it. If you are a jazz fan it's the same as saying some people listen to jazz and some people hear jazz ... thats the feeling you get standing there looking, but probably never being able to see what he saw. I get the same feeling when browsing in a museum ... looking at the brush strokes of any famous artist and contemplating what it must be like to build something so unique and special.

Here is one such photo I am trying to paint right now -


04-13-2009, 10:51 PM
Seem to have lost track of this thread somewhere...glad to find it again. Looks great! Kathy

04-16-2009, 02:25 AM
Having a go at this one:



04-18-2009, 01:48 PM
rwest, what a fabulous photo! Looks like a lot of work to paint that, good luck.

Kathy, there's a nice one, look forward to seeing your progress.

04-19-2009, 12:38 PM
photo great - painting rubbish ...

beginning stage - this is a small, quick attempt. Mostly a value study in green. I plan to let it dry for a week and then finish off next Saturday. I will paint a couple value and/or hue studies before attempting something on a larger stretched canvas ...


04-19-2009, 01:44 PM
Your photo is so beautiful that it suggests a painting already. Look forward to seeing your progress on these.

04-19-2009, 06:23 PM
Something good emerging there rwest. Kathy

04-25-2009, 12:33 AM
Labouring on:



04-25-2009, 03:29 AM
I should have posted the Monet I am studying. Here it is:



04-25-2009, 03:27 PM
Very nice Kathy.

did a little more work today on my canvas -

photo is a bit dodgy because it's from my blackberry -


04-25-2009, 06:46 PM
You are doing very well rwest ...bit like a monochrome...only all in green tones.


04-25-2009, 10:01 PM
done for this weekend - will finish next week


04-29-2009, 03:57 AM
I think this is all I can with this.



04-29-2009, 04:07 PM
Kathy, you've done very well indeed. It's finished and you can feel proud of it because you've achieved a beautiful result.

04-29-2009, 06:21 PM
You are very kind Lawrence. Thank you very much. Kathy