Claude Monet: The Truth of Nature – Denver Art Museum

Claude Monet, Waterlilies and Japanese Bridge, 1899. Oil on canvas; 35-5/8 x 35- 5/16 in (90.5 x 89.7 cm). Princeton University Art Museum: From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, y1972-15. Photo Credit: Princeton University Art Museum/Art Resource, NY.

Claude Monet: Truth of Nature – Denver Art Museum ‘Claude Monet: The Truth of Nature’: The Denver Art Museum (DAM) is home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades. October 21, 2019 through February 2, 2020.]]>

Source: The Denver Art Museum (DAM)

Monet traveled more extensively than any other impressionist artist in search of new motifs. His journeys to varied places including the rugged Normandy coast, the sunny Mediterranean, London, the Netherlands and Norway inspired artworks that are featured in the presentation. The exhibition uncovers Monet’s continuous dialogue with nature and its places through a thematic and chronological arrangement, from the first examples of artworks still indebted to the landscape tradition to the revolutionary compositions and series of his late years.

The presentation of “Claude Monet: The Truth of Nature” explores Monet’s continuous interest in capturing the quickly changing atmospheres, the reflective qualities of water and the effects of light, aspects that increasingly led him to work on multiple canvases at once. Additionally, the exhibition examines the critical shift in Monet’s painting when he began to focus on series of the same subject, including artworks from his series of “Haystacks”, “Poplars”, “Waterloo Bridge” and “Water Lilies”.

”Claude Monet: The Truth of Nature” also examines the artist’s increasing abandonment of any human presence in the landscapes he created, a testimony to his commitment to isolate himself in nature. This creative process simultaneously established an intimacy with his subject, which culminated later in Giverny, where he created his own motif through meticulous planning, planting and nurturing of his flowers and plants, which he then translated onto the canvas.

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