Resumen de Why Monet gave up figure painting
This essay provides an account of a major painting by Claude Monet, Le Déjeuner (1868–69), which attends to the circumstances of its making, its ambitions, and the image it offers of bourgeois domesticity, all with a view toward unmooring the terms in which it has hitherto been seen. At stake are notions of the painter as author and as person, the fictional status of painting, and the contemporary ideology of the family. Monet's surrender of the goals manifested in Le Déjeuner is explained by his difficulties in reconciling the contradictions and problems his effort provoked.
