LaurieAnnie's photos

Poppy Field in a Hollow near Giverny 1885 Claude Monet, French, 1840–1926 Dimensions: 65.1 x 81.3 cm (25 5/8 x 32 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: W. 1000 Accession Number: 25.106 Monet and his fellow Impressionists believed that art should express its own time and place and that it should do so in an appropriately modern style. In the 1860s and 1870s, working primarily outdoors, the Impressionists observed that objects seen in strong light lose definition and appear to blend into one another. No clear outlines exist in this sunny landscape. Its forms and textures are suggested by the size, shape, and direction of the brushstrokes, and the juxtaposition of complementary ...reds and greens gives the painting a vibrant intensity. By the mid-1880s, most members of the original group had turned away from Impressionism, but Monet declared: “I am still an Impressionist and will always remain one.” Text from: www.mfa.org/collections/object/poppy-field-in-a-hollow-ne...

Poppy Field in a Hollow near Giverny 1885 Claude Monet, French, 1840–1926 Dimensions: 65.1 x 81.3 cm (25 5/8 x 32 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: W. 1000 Accession Number: 25.106 Monet and his fellow Impressionists believed that art should express its own time and place and that it should do so in an appropriately modern style. In the 1860s and 1870s, working primarily outdoors, the Impressionists observed that objects seen in strong light lose definition and appear to blend into one another. No clear outlines exist in this sunny landscape. Its forms and textures are suggested by the size, shape, and direction of the brushstrokes, and the juxtaposition of complementary ...reds and greens gives the painting a vibrant intensity. By the mid-1880s, most members of the original group had turned away from Impressionism, but Monet declared: “I am still an Impressionist and will always remain one.” Text from: www.mfa.org/collections/object/poppy-field-in-a-hollow-ne...

Cap d'Antibes, Mistral 1888 Claude Monet, French, 1840–1926 Dimensions: 66.0 x 81.3 cm (26 x 32 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape - Seascape Accession Number: 42.542 As Monet grew older, his paintings became simpler. He began to focus on a single, isolated motif, the better to record the changes in color and light wrought on it by different times of day and fluctuations in weather. "Cap d'Antibes, Mistral" is one of three paintings of these very same trees that Monet made during his four-month sojourn in Antibes, from January through May 1888. Text from: www.mfa.org/collections/object/cap-d-antibes-mistral-32852

Cap d'Antibes, Mistral 1888 Claude Monet, French, 1840–1926 Dimensions: 66.0 x 81.3 cm (26 x 32 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape - Seascape Accession Number: 42.542 As Monet grew older, his paintings became simpler. He began to focus on a single, isolated motif, the better to record the changes in color and light wrought on it by different times of day and fluctuations in weather. "Cap d'Antibes, Mistral" is one of three paintings of these very same trees that Monet made during his four-month sojourn in Antibes, from January through May 1888. Text from: www.mfa.org/collections/object/cap-d-antibes-mistral-32852

Cap d'Antibes, Mistral 1888 Claude Monet, French, 1840–1926 Dimensions: 66.0 x 81.3 cm (26 x 32 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape - Seascape Accession Number: 42.542 As Monet grew older, his paintings became simpler. He began to focus on a single, isolated motif, the better to record the changes in color and light wrought on it by different times of day and fluctuations in weather. "Cap d'Antibes, Mistral" is one of three paintings of these very same trees that Monet made during his four-month sojourn in Antibes, from January through May 1888. Text from: www.mfa.org/collections/object/cap-d-antibes-mistral-32852

Boulevard Saint-Denis, Argenteuil, in Winter 1875 Claude Monet, French, 1840–1926 Dimensions: 60.9 x 81.6 cm (24 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: Wildenstein 1996, no. 357a Accession Number: 1978.633 The Impressionist interest in specific effects of light and weather is evident in Monet's rendering of the exact moment in which the sun struggles to break through a light snowfall. He made a preparatory sketch for this painting; clearly, careful deliberation lay behind his seemingly spontaneous technique. The subject of falling snow and the figures with umbrellas are reminiscent of Japanese woodblock prints, which had a strong influence on Impressionist artists. Text from: www.mfa.org/collections/object/boulevard-saint-denis-arge...

Boulevard Saint-Denis, Argenteuil, in Winter 1875 Claude Monet, French, 1840–1926 Dimensions: 60.9 x 81.6 cm (24 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: Wildenstein 1996, no. 357a Accession Number: 1978.633 The Impressionist interest in specific effects of light and weather is evident in Monet's rendering of the exact moment in which the sun struggles to break through a light snowfall. He made a preparatory sketch for this painting; clearly, careful deliberation lay behind his seemingly spontaneous technique. The subject of falling snow and the figures with umbrellas are reminiscent of Japanese woodblock prints, which had a strong influence on Impressionist artists. Text from: www.mfa.org/collections/object/boulevard-saint-denis-arge...

Boulevard Saint-Denis, Argenteuil, in Winter 1875 Claude Monet, French, 1840–1926 Dimensions: 60.9 x 81.6 cm (24 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: Wildenstein 1996, no. 357a Accession Number: 1978.633 The Impressionist interest in specific effects of light and weather is evident in Monet's rendering of the exact moment in which the sun struggles to break through a light snowfall. He made a preparatory sketch for this painting; clearly, careful deliberation lay behind his seemingly spontaneous technique. The subject of falling snow and the figures with umbrellas are reminiscent of Japanese woodblock prints, which had a strong influence on Impressionist artists. Text from: www.mfa.org/collections/object/boulevard-saint-denis-arge...

Boulevard Saint-Denis, Argenteuil, in Winter 1875 Claude Monet, French, 1840–1926 Dimensions: 60.9 x 81.6 cm (24 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Catalogue Raisonné: Wildenstein 1996, no. 357a Accession Number: 1978.633 The Impressionist interest in specific effects of light and weather is evident in Monet's rendering of the exact moment in which the sun struggles to break through a light snowfall. He made a preparatory sketch for this painting; clearly, careful deliberation lay behind his seemingly spontaneous technique. The subject of falling snow and the figures with umbrellas are reminiscent of Japanese woodblock prints, which had a strong influence on Impressionist artists. Text from: www.mfa.org/collections/object/boulevard-saint-denis-arge...

Cap Martin, near Menton 1884 Claude Monet, French, 1840–1926 Dimensions: 67.2 x 81.6 cm (26 7/16 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 25.128 Text from: www.mfa.org/collections/object/cap-martin-near-menton-32194

Cap Martin, near Menton 1884 Claude Monet, French, 1840–1926 Dimensions: 67.2 x 81.6 cm (26 7/16 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 25.128 Text from: www.mfa.org/collections/object/cap-martin-near-menton-32194

Valley of the Creuse (Gray Day) 1889 Claude Monet, French, 1840–1926 Dimensions: 65.5 x 81.2 cm (25 13/16 x 31 15/16 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 06.115 Text from: www.mfa.org/collections/object/valley-of-the-creuse-gray-...

Valley of the Creuse (Gray Day) 1889 Claude Monet, French, 1840–1926 Dimensions: 65.5 x 81.2 cm (25 13/16 x 31 15/16 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 06.115 Text from: www.mfa.org/collections/object/valley-of-the-creuse-gray-...

Cap Martin, near Menton 1884 Claude Monet, French, 1840–1926 Dimensions: 67.2 x 81.6 cm (26 7/16 x 32 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 25.128 Text from: www.mfa.org/collections/object/cap-martin-near-menton-32194

The Fog Warning Halibut Fishing 1885 Winslow Homer, American, 1836–1910 Dimensions: 76.83 x 123.19 cm (30 1/4 x 48 1/2 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 94.72 Winslow Homer made his reputation in the 1860s with images of the Union troops during the Civil War and of the returning veterans afterward. In the late 1860s and 1870s he turned to lighter subject matter and found an equally enthusiastic audience for his paintings of healthy, handsome children playing in the country or at the seashore, and of adults enjoying leisure time pursuits. However, perhaps feeling the need for greater seriousness in his art, Homer spent 1881-82 in Cullercoats, ...England. Both a fishing village and an artists' colony, Cullercoats provided Homer with new, more profound themes: the arduous lives of fishermen and their families. Shortly after returning to the United States late in 1882, he settled in Prout's Neck, Maine, similarly both a fishing community and in summer a pleasant resort, where he painted the local population and their work. Fog Warning is one of three paintings he produced at Prout's Neck in 1885 describing the lives of the North Atlantic fishermen. Like many of his 1870s images featuring farm children, Fog Warning is a story-telling picture. However, its story is disturbing rather than charming. As is indicated by the halibut in his dory, the fisherman in this picture has been successful. But the hardest task of the day, the return to the main ship, is still ahead of him. He turns to look at the horizon, measuring the distance to the mother ship, and to safety. The seas are choppy, and the dory rocks high on the waves, making it clear that the journey home will require considerable physical effort. But more threatening is the approaching fog bank, whose streamers echo-even mock-the fisherman's profile. Contemporary descriptions of the fishing industry in New England make clear that the protagonist's plight-the danger of losing sight of his vessel-was an all-too-familiar one. The dramatic tension of Fog Warning is all the greater because Homer does not specify the fisherman's fate. However, Homer's Lost on the Grand Banks, another painting in the series, shows that the fishermen's peril was a deadly one. An account from the 1876 history The Fisheries of Gloucester of the insidious horrors to which the fishermen were prey could well have served as a description of Fog Warning: "His frail boat rides like a shell upon the surface of the sea…a moment of carelessness or inattention, or a slight miscalculation, may cost him his life. And a greater foe than carelessness lies in wait for its prey. The stealthy fog enwraps him in its folds, blinds his vision, cuts off all marks to guide his course, and leaves him afloat in a measureless void." This text was adapted from Davis, et al., MFA Highlights: American Painting (Boston, 2003) available at www.mfashop.com/mfa-publications.html . Text from: www.mfa.org/collections/object/the-fog-warning-31042

The Fog Warning Halibut Fishing 1885 Winslow Homer, American, 1836–1910 Dimensions: 76.83 x 123.19 cm (30 1/4 x 48 1/2 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 94.72 Winslow Homer made his reputation in the 1860s with images of the Union troops during the Civil War and of the returning veterans afterward. In the late 1860s and 1870s he turned to lighter subject matter and found an equally enthusiastic audience for his paintings of healthy, handsome children playing in the country or at the seashore, and of adults enjoying leisure time pursuits. However, perhaps feeling the need for greater seriousness in his art, Homer spent 1881-82 in Cullercoats, ...England. Both a fishing village and an artists' colony, Cullercoats provided Homer with new, more profound themes: the arduous lives of fishermen and their families. Shortly after returning to the United States late in 1882, he settled in Prout's Neck, Maine, similarly both a fishing community and in summer a pleasant resort, where he painted the local population and their work. Fog Warning is one of three paintings he produced at Prout's Neck in 1885 describing the lives of the North Atlantic fishermen. Like many of his 1870s images featuring farm children, Fog Warning is a story-telling picture. However, its story is disturbing rather than charming. As is indicated by the halibut in his dory, the fisherman in this picture has been successful. But the hardest task of the day, the return to the main ship, is still ahead of him. He turns to look at the horizon, measuring the distance to the mother ship, and to safety. The seas are choppy, and the dory rocks high on the waves, making it clear that the journey home will require considerable physical effort. But more threatening is the approaching fog bank, whose streamers echo-even mock-the fisherman's profile. Contemporary descriptions of the fishing industry in New England make clear that the protagonist's plight-the danger of losing sight of his vessel-was an all-too-familiar one. The dramatic tension of Fog Warning is all the greater because Homer does not specify the fisherman's fate. However, Homer's Lost on the Grand Banks, another painting in the series, shows that the fishermen's peril was a deadly one. An account from the 1876 history The Fisheries of Gloucester of the insidious horrors to which the fishermen were prey could well have served as a description of Fog Warning: "His frail boat rides like a shell upon the surface of the sea…a moment of carelessness or inattention, or a slight miscalculation, may cost him his life. And a greater foe than carelessness lies in wait for its prey. The stealthy fog enwraps him in its folds, blinds his vision, cuts off all marks to guide his course, and leaves him afloat in a measureless void." This text was adapted from Davis, et al., MFA Highlights: American Painting (Boston, 2003) available at www.mfashop.com/mfa-publications.html . Text from: www.mfa.org/collections/object/the-fog-warning-31042

Long Branch, New Jersey 1869 Winslow Homer, American, 1836–1910 Dimensions: 40.64 x 55.24 cm (16 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 41.631 As the country began to leave the Civil War behind, Homer increasingly painted images of leisure. Long Branch was one of many, middle-class seaside resorts that had emerged since the Civil War and, as such, was emblematic of the nation's new mobility and prosperity. Text from: www.mfa.org/collections/object/long-branch-new-jersey-32801

Long Branch, New Jersey 1869 Winslow Homer, American, 1836–1910 Dimensions: 40.64 x 55.24 cm (16 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 41.631 As the country began to leave the Civil War behind, Homer increasingly painted images of leisure. Long Branch was one of many, middle-class seaside resorts that had emerged since the Civil War and, as such, was emblematic of the nation's new mobility and prosperity. Text from: www.mfa.org/collections/object/long-branch-new-jersey-32801