"Le Grand Tout": Monet on Belle-Île and the impulse toward unity

• Autores: Nina Athanassoglou-kallmyer
• Localización: Art bulletin, ISSN 0004-3079, Vol. 97, Nº 3, 2015, págs. 323-341
• Idioma: inglés
• Texto completo no disponible (Saber más ...)
• Resumen

  • Claude Monet's thirty-eight paintings of Belle-Île's western coast (1886) were hailed by critics as signaling a groundbreaking shift whose serial conception, abstracted aesthetic, and "savage" tenor transcended Impressionist naturalism, announcing a new, antimodernist, and primitivizing manner. The period's evolving pantheistic and proto-phenomenological ontologies awash in notions of "wholeness" and "universality", and the painter's friendship, intiated on Belle-Île, with the critic Gustave Geffroy, who shared such views, provide a context for understanding Monet's transformation, from the late 1880s on, from repertorial transcriber of ephemeral reality to dedicated seeker of its underlying essence, its perennial truth.