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146:, then reworked in Monetâs studio in 1894. Monet rented spaces in Rouen across the street from the cathedral as his temporary studio. In 1895 he selected what he considered to be the twenty best paintings from the series for display at his Paris dealerâs gallery and sold eight of them before the exhibition was over.
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Monetâs sensitivity to the natural effects he observed are just one factor that make these pictures so remarkable; the way he manipulates his medium contributes to their majesty as well. For the surfaces of these canvases are literally encrusted with paint that Monet built up layer upon layer like
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Monet found that the thing he had set out to paintâlightâwas an almost impossible thing to capture because of its ever-changing nature and its extreme subtlety. He was assisted, however, by his ability to capture the essence of a scene quickly, then finish it later using a sketch combined with his
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series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself. Like his other
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As always, the pictures gave him intense difficulties, which threw him into despair. He had vivid nightmares of the cathedral in various colors â pink, blue and yellow â falling upon him⊠âThings donât advance very steadily, primarily because each day I discover something I hadnât seen the day
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The cathedral series was not Monet's first series of paintings of a single subject, but it was his most exhaustive. The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes. The cathedral allowed him to highlight the paradox between a seemingly
671:'s use of architecture as a means to structure and enliven his art. This was a rare occurrence because no museum other than the Musée d'Orsay owns or exhibits more than three in a permanent collection and none of the museum's examples were included in the exhibition.
315:, wrote: "By focusing on the same subject through a whole series of paintings, Monet was able to concentrate on recording visual sensations themselves. The subjects did not change, but the visual sensations â due to changing conditions of light â changed constantly."
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Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in
Catholicism and the subject of one of its major cathedrals was well received. Apart from its religious significance, Rouen Cathedralâbuilt in the
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permanent, solid structure and the ever-changing light which constantly plays with our perception of it. There were calls for the state to buy the entire series and exhibit them as a whole, but these calls were not heeded and the series was divided.
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The subtle interweaving of colors, the keen perception of the artist and the use of texture all serve to create a series of shimmering images in light and colorâmasterpieces worthy of the grandeur of their subject matter.
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181:) in which Monet painted many views of the same subject under different lighting conditions, these works are an attempt to illustrate the importance of light in our perception of a subject at a given time and place.
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memory of the scene. For these paintings, he used thick layers of richly textured paint, expressive of the intricate nature of the subject. Paul Hayes Tucker, in
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exhibited five paintings of the series, together in a single room, for the duration of a temporary exhibition titled
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at different times of the day and year and reflect changes in its appearance under different lighting conditions.
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Colour and Light: Fifty
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La Cathédrale de Rouen. Le portail et la tour Saint-Romain, plein soleil; harmonie bleue et or
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La Cathédrale de Rouen. Le portail et la tour Saint-Romain, effet du matin; harmonie blanche
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Painting the cathedral was a challenging task, even for Monet. Michael Howard, in his
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The five paintings exhibited were the examples from the following collections:
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The portal and the tower of the saint-romain at morning sun, Harmony in Blue
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107 cm Ă 73.5 cm (42 in Ă 28.9 in)
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Tucker, Paul Hayes; Monet, Claude; Boston, Museum of Fine Arts (1990).
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La Cathédrale de Rouen. Le portail, soleil matinal; harmonie bleue
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paintings, more than thirty in all, were made in 1892 and 1893 in
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Rouen
Cathedral, Facade and the Tour d'Albane. Grey Weather
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Rouen
Cathedral, Facade (sunset), harmonie in gold and blue
859:(1st ed.). New York: Harper & Row. p. 166.
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Rouen
Cathedral- Setting Sun, (Symphony in Grey and Pink)
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Gardner's Art through the Ages: The
Western Perspective
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has five paintings of the series on permanent display.
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before⊠In the end, I am trying to do the impossible.â
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visited the exhibition and praised the series highly.
884:. San Diego, Calif.: Thunder Bay Press. p. 224.
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Rouen
Cathedral, Facade and Tour d'AlbaneI, dull day
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Fondation Monet â Giverny home, studio, and gardens
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855:Hall-Pelfrey, Robert H. Pelfrey with Mary (1985).
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1919:Claude Monet Painting in His Garden at Argenteuil
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791:. Cardiff: National Museum of Wales. p. 86.
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1606:The Doge's Palace Seen from San Giorgio Maggiore
1470:Arrival of the Normandy Train, Gare Saint-Lazare
1247:The Road in Front of Saint-Simeon Farm in Winter
1438:Woman with a Parasol â Madame Monet and Her Son
118:. The paintings in the series each capture the
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381:The Portal of Rouen Cathedral in Morning Light
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27:1892â1894 series of paintings by Claude Monet
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766:(1st American ed.). New York: Knopf.
111:series was painted in the 1890s by French
764:Monet's cathedral : Rouen, 1892-1894
2030:Paintings in the National Gallery of Art
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424:Rouen Cathedral, Facade (Morning effect)
1406:Argenteuil Basin with a Single Sailboat
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816:Monet in the '90s: The Series Paintings
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1935:Portrait of the Painter Claude Monet
1255:On the Bank of the Seine, Bennecourt
1191:A Cart on the Snowy Road at Honfleur
1106:series from the J. Paul Getty Museum
2000:Series of paintings by Claude Monet
1927:Claude Monet Painting in his Studio
1826:(step-daughter and daughter-in-law)
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1446:A Corner in the Garden at Montgeron
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1943:Monet: The Mystery of the Orangery
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913:. Yale University Press. p.
820:. Yale University Press. p.
734:. Cengage Learning. p. 656.
709:List of paintings by Claude Monet
698:An undisclosed private collection
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356:the masonry of the façade itself.
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1590:Le Jardin de l'artiste Ă Giverny
1566:The Valley of the Creuse, Sunset
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1093:An in-depth analysis of Monet's
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329:Encyclopedia of Impressionism,
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880:Howard, Michael (1997).
665:Monet & Architecture
1836:Jacques-François Ochard
1390:The Seine at Argenteuil
1358:Boulevard des Capucines
1178:Le DĂ©jeuner sur l'herbe
1102:Brief essay on Monet's
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519:National Gallery of Art
501:National Gallery of Art
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170:When Monet painted the
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1824:Blanche Hoschedé Monet
1646:Le Bassin Aux Nymphéas
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1279:Interior, after Dinner
1886:Musée Marmottan Monet
1542:Haystack Near Giverny
1518:Stormy Sea at Ătretat
1494:Portrait of PĂšre Paul
1430:The Train in the Snow
1374:The Seine at AsniĂšres
1366:Lilac Bush in the Sun
1327:Regatta at Argenteuil
1088:at Wikimedia Commons
1074:at Wikimedia Commons
1052:Rouen Cathedral Set V
843:Rouen Cathedral Monet
300:Musée Marmottan Monet
1876:Musée de l'Orangerie
1830:Theodore Earl Butler
1768:San Giorgio Maggiore
1744:Houses of Parliament
1728:Charing Cross Bridge
967:The National Gallery
787:Sumner, Ann (2005).
385:J. Paul Getty Museum
2010:Religious paintings
1319:Impression, Sunrise
1311:Windmill at Zaandam
1263:L'Enfant a la tasse
1215:Woman in the Garden
1207:Women in the Garden
689:Museum of Fine Arts
605:Riehen, Switzerland
479:Clark Art Institute
311:Robert Pelfrey, in
1951:The Impressionists
1486:Beach in Pourville
1422:Snow at Argenteuil
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1170:View from Rouelles
857:Art and mass media
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313:Art and Mass Media
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1812:Michel Monet
1796:(first wife)
1776:Water Lilies
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1655:Water Lilies
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1103:
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1064:
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1038:Smarthistory
1031:
997:. Retrieved
994:The Guardian
993:
983:
971:. Retrieved
969:. April 2018
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815:
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730:
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135:
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116:Claude Monet
107:
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51:Claude Monet
1779:(1897â1926)
1771:(1908â1912)
1747:(1900â1905)
1739:(1900â1904)
1731:(1899â1904)
1715:(1892â1894)
1630: 1914
1335: 1872
999:20 December
973:20 December
1989:Categories
1895:Portrayals
1806:Jean Monet
1342:Springtime
1271:The Magpie
948:2023-01-05
924:0300062982
831:0300049137
715:References
82:Dimensions
1844:(teacher)
1838:(teacher)
1699:(1890â91)
1696:Haystacks
1290:(1868â73)
1282:(1868-69)
1161:Paintings
598:1892â1894
573:1892â1893
451:1892â1894
427:1892â1894
323:Technique
297:1892â1894
272:1892â1893
247:1892â1893
1856:(dealer)
1850:(patron)
1086:by Monet
1030:Monet's
703:See also
631:, France
582:, France
554:, 1894,
535:, 1894,
517:, 1894,
499:, 1894,
383:, 1894,
349:writes:
331:writes:
306:, France
281:, France
256:, France
231:, Serbia
229:Belgrade
144:Normandy
90:Location
1962:Related
1864:Museums
1704:Poplars
1199:Camille
1057:Pop Art
460:, Japan
367:Gallery
62: (
1922:(1873)
1787:People
1763:(1908)
1755:(1908)
1723:(1895)
1707:(1891)
1689:Moscow
1677:(1877)
1666:Series
1658:(1919)
1650:(1919)
1640:(1918)
1632:â1917)
1617:(1908)
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1184:Moscow
1180:(Paris
1173:(1858)
1034:Series
921:
888:
863:
837:3 June
828:
795:
770:
747:3 June
738:
661:London
458:Hakone
120:façade
72:Medium
47:Artist
1814:(son)
1808:(son)
1095:Rouen
629:Paris
580:Paris
304:Paris
279:Paris
254:Paris
206:, USA
140:Rouen
98:Paris
1055:, a
1001:2018
975:2018
919:ISBN
886:ISBN
861:ISBN
839:2018
826:ISBN
793:ISBN
768:ISBN
749:2018
736:ISBN
648:The
622:1892
476:1894
403:1893
222:1892
197:1894
150:and
134:The
130:Date
105:The
64:1894
60:1894
57:Year
915:155
822:154
659:in
122:of
1991::
1687:/
1627:c.
1332:c.
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66:)
20:)
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