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  • Nel bosco a Giverny
  • Nel bosco a Giverny
  • In the woods at Giverny
  • In the woods at Giverny
Nel bosco a Giverny

In the woods at Giverny

The original painting is dated 1887 and is kept at the County Museum of Art in Los Angeles, USA. Monet portrays Alice's young daughters, Blanche Hoschedé who is painting and Suzanne Hoschedé who is reading. He continues his pictorial research with intensity, carefully studying the variations of the shapes and colours of the wonders of nature as the seasons change and as time goes by.
€167.00
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P-227

Data sheet

Dimensions
cm. 90x90
1 - Characteristics and Properties
Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Full HD print on washable, UV-resistant canvas
Remarks
Imported product
The original painting is dated 1887 and is kept at the County Museum of Art in Los Angeles, USA. Monet portrays Alice's young daughters, Blanche Hoschedé who is painting and Suzanne Hoschedé who is reading. He continues his pictorial research with intensity, carefully studying the variations of the shapes and colours of the wonders of nature as the seasons change and as time goes by. With this painting Monet also resumes his attempts to reproduce human figures within a landscape, in this case the forest of Giverny. The effect is balanced and harmonious. The two subjects blend perfectly with the surrounding wood; the facial features, almost sketchy, are lost in the trees behind them. The tones used for women's dresses are soft and in perfect continuity with the environment that surrounds them. By painting he abandoned himself to the instinct of vision, which, when it is immediate, it ignores the relief and the chiaroscuro of objects, which are instead the result of the application to school design. By eliminating the plasticity of things, Monet tried to represent them in the immediacy of the moment, in their first appearance. Claude Monet did not love and was not interested in the classical examples of painting. His artistic culture was and remained limited but compensated for his "lack" with the advantage of being able to look at nature, his only source of inspiration, without preconceived mental scaffolding.

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