Why Monet gave up figure painting

Author

Wagner, Anne M.

Document type

Article (journal)

Language

English

Source

Art bulletin. 1994, Num. 4, Vol. 76, 612-629, 14 ill. (1 col.)

ISSN

0004-3079

Abstract (en)

Discusses Monet's painting, Le Déjeuner (Frankfurt, Städelsches Kunstinstitut), attending to the circumstances of its making, its ambitions, and the image it offers of bourgeois domesticity, all with a view toward unmooring the terms in which it has hitherto been seen. At stake are notions of the painter as author and as person, the fictional status of painting, and the contemporary ideology of the family. Monet's surrender of the goals manifested in Le Déjeuner is explained by his difficulties in reconciling the contradictions and problems that his effort provoked.

Subject (en)

• General history of art -- 1800-1945 -- Pictorial arts -- Painting and drawing -- France
• Monet, Claude, 1840-1926
• Painting
• France
• 1800-1900
• Luncheon
• Städelsches Kunstinstitut und Städtische Galerie||Frankfurt am Main (DEU)
• Family
• Iconography
• Human figure
• Representation
• Bourgeoisie
• Domestic life

Subject (fr)

• Histoire générale de l'art -- 1800-1945 -- Peinture et arts graphiques -- Peinture et dessin -- France
• Monet, Claude, 1840-1926
• Peinture
• France
• 1800-1900
• Le Déjeuner
• Städelsches Kunstinstitut und Städtische Galerie||Frankfurt am Main (DEU)
• Famille
• Iconographie
• Corps humain
• Représentation
• Bourgeoisie
• Vie domestique

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier19950401-00312971

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