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Nadar, 1899 · Photograph by Nadar (Gaspard-Felix Tournachon), 1899, via Wikimedia Commons · Public domain (photographer died 1910, more than 100 years ago; CC-PD-Mark)
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출처
- Claude Monet
- Claude Monet (Q296)
- Jill Shaw, "Cat. 45. Venice, Palazzo Dario, 1908", in Monet Paintings and Drawings at the Art Institute of Chicago -- the museum's own online scholarly catalogue. Quotes Alice Monet's near-daily letters to her daughter Germaine Salerou describing Monet's working schedule and struggles in Venice, and Monet's own letters to dealer Paul Durand-Ruel and critic Gustave Geffroy, including his own retrospective comparison of the Venice paintings to the earlier Stacks of Wheat (Haystacks) series method. Fully read in this cycle.
- Brian Boucher, "Art Bites: Monet Had an Appetite for Destruction (of His Own Paintings)", Artnet News (May 28, 2024) -- cites a Sotheby's estimate of roughly 500 destroyed canvases, a contemporary 1908 newspaper valuation of one destruction episode, Alice Monet's own 1908 letter to a friend, Georges Clemenceau's account (a close friend, quoted by a journalist), and Monet's own 1908 letter. Fully read in this cycle.
- Allison McNearney, "When Claude Monet Slashed and Destroyed His Own Paintings", The Daily Beast (Oct. 29, 2017) -- corroborates the 1908 destruction episode and quotes Monet's own remarks about his garden and his self-assessment. Only the free (non-paywalled) portion of this article was accessible and read in this cycle; paywalled content beyond that was not read and is not cited.
- Jackie Wullschlager, Monet: The Restless Vision (Allen Lane, 2023) -- independent recent scholarly biography. Read via Bonjour Paris's article on Monet's Giverny gardeners, which quotes the biography directly and separately cites 1906 census records and one of Monet's own 1905 hiring letters; the full monograph text was not accessed.
- Fondation Claude Monet, Giverny, "Water Lily Pond" -- the institution that today owns and maintains Monet's house and gardens, describing his 1893 land purchase and river-diversion works, his personal design choices (including choosing green rather than traditional red paint for the Japanese bridge), and his own plant selections. Fully read in this cycle.
- Science History Institute, "Could Claude Monet See Like a Bee?" -- the institute's own published account of the specific studio-workflow adaptations Monet used during a period of impaired color perception in the 1910s-20s, and his subsequent treatment of the resulting body of work once his circumstances changed. Fully read in this cycle.