"Low Tide at Pourville, near Dieppe", Claude Monet NFT on XRPL
"Low Tide at Pourville, near Dieppe", Claude Monet
Collection: Cleveland Originals
This is one of several views Monet painted of the cliffs and sand flats of Pourville, a small fishing village on the Normandy coast of France. The title indicates a momentary stage in the continuous cycle of nature, just as the quick, spontaneous application of paint reflects Monet's efforts to capture shifting effects of light, weather, and tide. The paint layers under the beach indicate that this part of the composition originally depicted water, as would have been appropriate for a depiction of high rather than low tide. Similar changes were made in the clouds during the painting process."fun_fact": "To the right of the painting, the cliff which borders the Pourville Beach is painted in light yellow with divided strokes of color to indicate reflections in the water. In contrast, large horizontal strokes accented in dark blue depict the movement of the waves." Artist Bio: Claude Monet (Claude Oscar Monet; Paris, 1840 - Giverny, 1926) French painter, a key figure in the Impressionist movement. His artistic inclinations were shaped by his contact with Eugène Boudin in Le Havre, and excursions to the countryside and the beach during his adolescence directed the later development of his painting. After military service in Algeria, he returned to Paris, where, in Gleyre's studio, he met young artists like Renoir, Sisley, and Bazille. At the popular café Guerbois, he connected with a group of intellectuals, writers, and painters such as Émile Zola, Nadar, Cézanne, and Degas, who, along with Manet, began to oppose established art. Fast painting techniques like pochades or études were favored by society at that time, as long as it was limited to small landscape themes. Monet's early work, "The Coast of Sainte-Adresse" (1864, Institute of Arts, Minneapolis), recalls his mentor Boudin but gains greater significance by applying direct painting to more complex and larger subjects. A similar innovation is seen in "Women in the Garden" (1866, Musée d'Orsay, Paris), rejected at the 1867 Salon. Three women enjoy themselves in the countryside under an intense sun, causing their dresses to appear in a state of great purity, with few intermediate modulations and marked divisions between light and shadow areas. The scene's spontaneity is evident in the luminous precision of the moment and the dynamism of the figures, frolicking around a tree. With this ambitious work, Monet departs from the traditional treatment of portraiture, leaning towards integrating figures into nature. Serious economic problems and the birth of his illegitimate son, Jean, in 1867, led Monet to a period of extreme poverty and hunger, along with an unsuccessful suicide attempt. During the Franco-Prussian War, the artist sought refuge in England, where he met Pissarro and gained financial support and friendship from Paul Durand-Ruel. There, he became highly interested in Turner's work, which significantly influenced his perception of light and color. According to Monet, a painter facing reality should not make distinctions between senses and intellect. From 1872, Monet focused on the pond at Argenteuil as an ideal place to adapt his technique to the rapid representation of water and light. The painting titled "Monet Working on his Boat in Argenteuil" (1874, Neue Pinakothek, Munich) represents a kind of nautical laboratory from which the artist could navigate on the pond's water, appreciating the changing luminous effects on its surface. The boat-studio opposed the traditional studio concept exalted by Courbet twenty years earlier in his work "The Painter's Studio," offering a picturesque testimony to the main Impressionist aspirations. The emerging light of dawn and its random reflections on the water can also be seen in the iconic work "Impression, Sunrise" (1872, Musée Marmottan, Paris), painted in Le Havre. In just over half a square meter, numerous brushstrokes overlap in a single, neutral overall color, capturing the luminous moment of dawn and the sparkling reflections of the reddish sun on the water. The painting's speed, demanded by the fleeting nature of the subject, influenced its format, technique, and even the title—a condensed manifesto of intentions that gave the group its name when, in 1874, the work was exhibited in the first Impressionist exhibition, and critic Louis Leroy used the term disparagingly in Le Charivari to refer to those previously known as the Manet group. The first of the modern 'isms' had a name, and Monet was considered the leader of the group. From 1878 to 1881, the artist stayed in Vétheuil, continuing the line started in Argenteuil, without participating in the fifth and sixth Impressionist exhibitions in 1880 and 1881. After a stay in Poissy, extended until 1883, Monet, with his second wife, Alice Hoschedé, moved to Giverny, where he lived until his death. From 1890, Monet's painting became more complex, and the initial immediacy and euphoria transformed into dissatisfaction and melancholy, attempting to reconcile the fresh and expressive technique of his early years with deeper and more ambitious explorations that could span several days, months, or even years. This was intended to create works with greater complexity: variations that, in their thematic repetition, emphasized the exploration of formal resolutions. "Effect of Snow" (1891, National Gallery of Scotland, Edinburgh), "Haystacks" (1891, Musée d'Orsay, Paris), and "Haystacks, Sunset" (1890-1891, The Art Institute, Chicago) are part of some of his early series. However, the most well-known is the one dedicated to the Rouen Cathedral in 1892-1893. Poetically and didactically, it shows how changes in light alter the perception of the environment, how light and color are inseparable phenomena of human perception. Monet painted fifty pictures of the cathedral, eighteen of them of the porch, and stated: "I could have done fifty, a hundred, a thousand, as many as there are seconds in his life..." During the last thirty years of his life, the artist worked around his water garden in Giverny. In an empty meadow crossed by a small stream, he built a lush garden with a large pond full of water lilies of all colors, surrounded by willows and exotic trees. A small oval bridge crossed the pond, appearing in numerous paintings of the time, such as "Water Lily Pond" (1900, Musée d'Orsay, Paris) or the lyrical composition titled "The Japanese Bridge" (1918-1924, Musée d'Orsay, Paris). All the time and money Monet invested in creating this garden were compensated by the paintings that emerged from it; the water was again a mirror whose appearance changed with the ephemeral and unpredictable changes in the sky reflected in it. The well-known series of Water Lilies or water lilies, later associated with contributions from Vasili Kandinsky, Paul Klee, Pablo Picasso, and Georges Braque, became symbols of the birth of abstraction in Western painting after many centuries of predominance of figurative representation. "Water Lilies: Water Landscape" (1903, Bridgestone Museum of Art, Tokyo), "Water Lilies at Sunset" (1916-1922, Kunsthaus, Zurich), or "Water Lilies" (1919-1920, Musée Marmottan, Paris) are large-format works that, in a way, can be contemplated by the contemporary viewer as abstract paintings. Cézanne alluded to the artist's ability to objectively and immediately capture reality. However, his creative process went beyond direct observation of nature, using visual memory as an essential resource for finishing his compositions. The images formed in memory are perceptions, just like those determined by the visualization of things, and between the two, as happened in Monet's painting, a new conception of the pictorial image of reality can emerge. In his final compositions of water lilies, the form is practically dissolved into color spots, somewhat anticipating what would later be abstract art.
Issuer: rLzncbwKysPuA9FvrocUKBZUbQGiBBPNk3
Taxon: 2
- technique : oil on fabric
- culture : France, 19th century
- creation date : 1882
- artist: Claude Monet
- px: 15254 x 11254
NFTokenID: 00081B30DB35F371D4D6B9E351DA0CF20D4EBF5F49F78DB9EC4C78E9042C1F50
View and trade this NFT on XRPL.to — the XRP Ledger NFT marketplace.
Properties
Description
This is one of several views Monet painted of the cliffs and sand flats of Pourville, a small fishing village on the Normandy coast of France. The title indicates a momentary stage in the continuous cycle of nature, just as the quick, spontaneous application of paint reflects Monet's efforts to capture shifting effects of light, weather, and tide. The paint layers under the beach indicate that this part of the composition originally depicted water, as would have been appropriate for a depiction of high rather than low tide. Similar changes were made in the clouds during the painting process."fun_fact": "To the right of the painting, the cliff which borders the Pourville Beach is painted in light yellow with divided strokes of color to indicate reflections in the water. In contrast, large horizontal strokes accented in dark blue depict the movement of the waves." Artist Bio: Claude Monet (Claude Oscar Monet; Paris, 1840 - Giverny, 1926) French painter, a key figure in the Impressionist movement. His artistic inclinations were shaped by his contact with Eugène Boudin in Le Havre, and excursions to the countryside and the beach during his adolescence directed the later development of his painting. After military service in Algeria, he returned to Paris, where, in Gleyre's studio, he met young artists like Renoir, Sisley, and Bazille. At the popular café Guerbois, he connected with a group of intellectuals, writers, and painters such as Émile Zola, Nadar, Cézanne, and Degas, who, along with Manet, began to oppose established art. Fast painting techniques like pochades or études were favored by society at that time, as long as it was limited to small landscape themes. Monet's early work, "The Coast of Sainte-Adresse" (1864, Institute of Arts, Minneapolis), recalls his mentor Boudin but gains greater significance by applying direct painting to more complex and larger subjects. A similar innovation is seen in "Women in the Garden" (1866, Musée d'Orsay, Paris), rejected at the 1867 Salon. Three women enjoy themselves in the countryside under an intense sun, causing their dresses to appear in a state of great purity, with few intermediate modulations and marked divisions between light and shadow areas. The scene's spontaneity is evident in the luminous precision of the moment and the dynamism of the figures, frolicking around a tree. With this ambitious work, Monet departs from the traditional treatment of portraiture, leaning towards integrating figures into nature. Serious economic problems and the birth of his illegitimate son, Jean, in 1867, led Monet to a period of extreme poverty and hunger, along with an unsuccessful suicide attempt. During the Franco-Prussian War, the artist sought refuge in England, where he met Pissarro and gained financial support and friendship from Paul Durand-Ruel. There, he became highly interested in Turner's work, which significantly influenced his perception of light and color. According to Monet, a painter facing reality should not make distinctions between senses and intellect. From 1872, Monet focused on the pond at Argenteuil as an ideal place to adapt his technique to the rapid representation of water and light. The painting titled "Monet Working on his Boat in Argenteuil" (1874, Neue Pinakothek, Munich) represents a kind of nautical laboratory from which the artist could navigate on the pond's water, appreciating the changing luminous effects on its surface. The boat-studio opposed the traditional studio concept exalted by Courbet twenty years earlier in his work "The Painter's Studio," offering a picturesque testimony to the main Impressionist aspirations. The emerging light of dawn and its random reflections on the water can also be seen in the iconic work "Impression, Sunrise" (1872, Musée Marmottan, Paris), painted in Le Havre. In just over half a square meter, numerous brushstrokes overlap in a single, neutral overall color, capturing the luminous moment of dawn and the sparkling reflections of the reddish sun on the water. The painting's speed, demanded by the fleeting nature of the subject, influenced its format, technique, and even the title—a condensed manifesto of intentions that gave the group its name when, in 1874, the work was exhibited in the first Impressionist exhibition, and critic Louis Leroy used the term disparagingly in Le Charivari to refer to those previously known as the Manet group. The first of the modern 'isms' had a name, and Monet was considered the leader of the group. From 1878 to 1881, the artist stayed in Vétheuil, continuing the line started in Argenteuil, without participating in the fifth and sixth Impressionist exhibitions in 1880 and 1881. After a stay in Poissy, extended until 1883, Monet, with his second wife, Alice Hoschedé, moved to Giverny, where he lived until his death. From 1890, Monet's painting became more complex, and the initial immediacy and euphoria transformed into dissatisfaction and melancholy, attempting to reconcile the fresh and expressive technique of his early years with deeper and more ambitious explorations that could span several days, months, or even years. This was intended to create works with greater complexity: variations that, in their thematic repetition, emphasized the exploration of formal resolutions. "Effect of Snow" (1891, National Gallery of Scotland, Edinburgh), "Haystacks" (1891, Musée d'Orsay, Paris), and "Haystacks, Sunset" (1890-1891, The Art Institute, Chicago) are part of some of his early series. However, the most well-known is the one dedicated to the Rouen Cathedral in 1892-1893. Poetically and didactically, it shows how changes in light alter the perception of the environment, how light and color are inseparable phenomena of human perception. Monet painted fifty pictures of the cathedral, eighteen of them of the porch, and stated: "I could have done fifty, a hundred, a thousand, as many as there are seconds in his life..." During the last thirty years of his life, the artist worked around his water garden in Giverny. In an empty meadow crossed by a small stream, he built a lush garden with a large pond full of water lilies of all colors, surrounded by willows and exotic trees. A small oval bridge crossed the pond, appearing in numerous paintings of the time, such as "Water Lily Pond" (1900, Musée d'Orsay, Paris) or the lyrical composition titled "The Japanese Bridge" (1918-1924, Musée d'Orsay, Paris). All the time and money Monet invested in creating this garden were compensated by the paintings that emerged from it; the water was again a mirror whose appearance changed with the ephemeral and unpredictable changes in the sky reflected in it. The well-known series of Water Lilies or water lilies, later associated with contributions from Vasili Kandinsky, Paul Klee, Pablo Picasso, and Georges Braque, became symbols of the birth of abstraction in Western painting after many centuries of predominance of figurative representation. "Water Lilies: Water Landscape" (1903, Bridgestone Museum of Art, Tokyo), "Water Lilies at Sunset" (1916-1922, Kunsthaus, Zurich), or "Water Lilies" (1919-1920, Musée Marmottan, Paris) are large-format works that, in a way, can be contemplated by the contemporary viewer as abstract paintings. Cézanne alluded to the artist's ability to objectively and immediately capture reality. However, his creative process went beyond direct observation of nature, using visual memory as an essential resource for finishing his compositions. The images formed in memory are perceptions, just like those determined by the visualization of things, and between the two, as happened in Monet's painting, a new conception of the pictorial image of reality can emerge. In his final compositions of water lilies, the form is practically dissolved into color spots, somewhat anticipating what would later be abstract art.
"Low Tide at Pourville, near Dieppe", Claude Monet
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