Critique of Art Exhibition Monets Garden - Report Example

Art Exhibition Critique and Review Name: Name of Instructor: Course: Location: Date: Art Exhibition Critique and Review Introduction The garden of the renowned impressionist painter and gardener Claude Monet consists of the garden and Monet’s home. Located in Giverny, the landscape includes a garden near his home and a water garden near across the river from his home. The area became a source of tourist attraction in the year 1980 after much restoration. In addition to the garden flowers and ponds, Claude Monet’s collection also comprises of a series of paintings, most of which depict sections of his garden. Critique of Grant’s Exhibition Review I agree with the Grant’s opinion of Monet’s artwork as monotonous in the first few moments. The critique offered is that this is many a time normal if the exhibition is of a single theme and by a single artist. The sense of monotony id further strengthened by the color co-ordination, which offers a limited variety of shades, though appropriately, represented throughout the paintings. The critique argued that it was important for observers to consider the actual objects painted alongside the paintings themselves. This would enable the audience to understand the concept of the artwork and realize that the painted objects are actually real. I agree with this because viewing the paintings after the tour to the garden enabled the audience to actualize what they already saw. Many painters during Monet’s time were not interested on painting their own environment but were more interested in the collective concepts such as culture and politics. The issue of “place over art” was raised with the author evaluating the priority of the painter. Place recognized the landscape, backyard or the general environment in which an object of interest was located. On the other hand, the object art was focused on the item that brought an audience to the particular location. The author argues that Monet’s work regards both place and objects as part of his art collection (Grant, 2013, np). He developed a close relationship between art making (the process of planting the flowers and maintaining them) and art itself (the paintings). I agree with the author as he argues that a viewer needs to connect painting with the place or actual object in order to see the resemblance and significance of Monet’s work. I am of the same opinion as Grant, who brings to attention the comparison between the catalogue and the exhibition of Monet’s work. Grant asserts that while the same themes are represented in both the catalogue and exhibition, the catalogue was much more impressive because it reproduced the exact effect of Monet’s work, among other impressionist painters during his time. The author asserts that the exhibition would have been better served by provision of a support of the background history support of the paintings. This may include pictorial representations set side by side with the painting to which it corresponds. Key points of historical works along with the location of the areas where the paintings were made would have been of much more benefit top a viewer. Therefore, it is true that the connection of painting with the area can only be made when a viewer has sampled the catalogue after which he or she proceeds to view the paintings. I concur with Grant, who argues that the catalogue offers little information on the exhibition. Catalogues are normally meant for assisting a viewer in an exhibition with additional information about the works displayed, such as the title, painter, and proprietary information. However, as Grant mentioned, the catalogues were slightly illegible to the point he had to take pictures. In addition to this, they lacked a system of numbering that allowed viewers to have a point of reference. Catalogues for kids were much more attractive even to the adults since the simple language enabled a viewer to interpret the information more quickly, thus saving on time. I concur with the review because if the viewers failed to look up information in a catalogue, they would be compelled to view the exhibition as paintings with objectivity and this will provide separation from the painter with his work. The viewer’s findings cover a large spectrum of the dynamics of Monet’s work. He mainly focuses on the paintings and the gardens drawing important comparisons between the two. While he examines the importance of their cultural representations, he concludes that the paintings were a spectacular masterpiece by the impressionist painter and gardener. As such, I agree with the author that the artwork requires a well-arranged catalogue in order to provide adequate references for a viewer. It is important to consider both types of artwork as Claude Monet’s unique art collection that complement one another. The garden as well as the paintings not only give inspiration to viewers but also are a source of revenue due to its popularity as a tourist destination. Review of the Artwork Exhibition The artwork of Monet’s Garden depicts representations of the various objects and places of the garden itself. These include the water lilies, the green arched bridge, pathways to the house, field of irises and day lilies. Some paintings illustrate the weather in Giverny such as the Rough Weather at Etretat, while others show people enjoying the scenery of the garden such as the painting Taking a Walk near Argenteuil. Most of Claude Monet’s paintings were drawn on oil on canvas with the size of the paintings varying widely from one another. The paintings are located in different areas all over the world, including Musee Marmottan Monet and Musee d’Orsay in Paris, Bridgestone Museum Art in Tokyo and Art Institute in Chicago, Illinois. Time period of Monet’s work spanned decades, from the mid 19th century to the early 1920s. The initial impression on the overview of Monet’s collection is one of beauty represented in nature. An air of authority, artistry, and control sweeps through the paintings as it depicts the manipulation and color co-ordination that was employed to produce the deeply contrasting yet impressive artwork within the painting and the practical gardening. The wide range of colors different species of flowers, each with their own beauty has been portrayed from the water lilies in the pond, the roses in the pathways, day lilies, and irises. There are certain visual effects of which the painter took advantage. For instance, the painting Water lilies (Nympheas) produce a shadow effect cast on to the water in the pond from the trees above. The painting Water lilies, Evening Effect give the impression that the flowers were painted at dusk, when there was still sufficient light. The flowers appear to cast a shadow into the waterbed. The vastly contrasting colors were carefully illustrated in Monet’s paintings. This artwork would be especially appreciated by the viewer if got the chance to compare the actual garden with the paintings. The painter allows us to connect his paintings with the actual garden thus giving it a realistic visual effect. This is shown in the painting Taking a walk near Argenteuil illustrates a man and a woman walking along the path of a garden and enjoying the view around them as a calm wind blows by. This is represented by the manner in which their clothes are blown to the side. The wind is clearly not a strong one since the trees near them appear straight and stationary. Thus, the painting represents a serene environment suitable for outdoor activities. Claude Monet initially saw his gardening work as a beautiful masterpiece. His work of art is influenced by the nature that he had created. His mission was to create a unique relationship between art and gardening, also referred to as place making. Not many painters and gardeners during that time combined the two, thus Claude Monet’s collection became a singular work of art that many celebrated up to this date. He knew that his gardens may not stand the test of time and that they may soon be no more particularly after he has died. Thus, his motivation for creating the collection of paintings stemmed from the fact that he wanted his artwork to become more permanent. This was the main reason for him to create the collection of paintings. Claude Monet’s work symbolized the beauty that he had created. His work was cross cultural, as depicted by the green arched bridge that was Japanese themed. Because the work was his own, one could argue that there would have been no better person other than him to illustrate it in paintings. This is especially so considering his superior talent as an impressionist painter. After viewing the work in detail, the initial impression of artistic control is maintained as a viewer (Grant, 2013 n.p). The viewer illustrates his work just as it is in reality and this goes a long way in maintaining his legacy as a painter and a gardener. It is important to focus more on the relationship that Monet formed between painting and gardening rather than regarding them as separate entities. In addition to this, a viewer is automatically inclined to visit the scenery to observe the actual images of the flowers, bridges, and landscape once they have seen the paintings. This creates an interesting connection that is rare phenomenon in the art and tourist industries. Reference Grant, Katrina. 'Exhibition Review | Monet’s Garden at the National Gallery of Victoria. Reviewed By David R. Marshall'. Melbourne Art Network. N.p., 2013. Web. Read More

I am of the same opinion as Grant, who brings to attention the comparison between the catalogue and the exhibition of Monet’s work. Grant asserts that while the same themes are represented in both the catalogue and exhibition, the catalogue was much more impressive because it reproduced the exact effect of Monet’s work, among other impressionist painters during his time. The author asserts that the exhibition would have been better served by provision of a support of the background history support of the paintings.

This may include pictorial representations set side by side with the painting to which it corresponds. Key points of historical works along with the location of the areas where the paintings were made would have been of much more benefit top a viewer. Therefore, it is true that the connection of painting with the area can only be made when a viewer has sampled the catalogue after which he or she proceeds to view the paintings. I concur with Grant, who argues that the catalogue offers little information on the exhibition.

Catalogues are normally meant for assisting a viewer in an exhibition with additional information about the works displayed, such as the title, painter, and proprietary information. However, as Grant mentioned, the catalogues were slightly illegible to the point he had to take pictures. In addition to this, they lacked a system of numbering that allowed viewers to have a point of reference. Catalogues for kids were much more attractive even to the adults since the simple language enabled a viewer to interpret the information more quickly, thus saving on time.

I concur with the review because if the viewers failed to look up information in a catalogue, they would be compelled to view the exhibition as paintings with objectivity and this will provide separation from the painter with his work. The viewer’s findings cover a large spectrum of the dynamics of Monet’s work. He mainly focuses on the paintings and the gardens drawing important comparisons between the two. While he examines the importance of their cultural representations, he concludes that the paintings were a spectacular masterpiece by the impressionist painter and gardener.

As such, I agree with the author that the artwork requires a well-arranged catalogue in order to provide adequate references for a viewer. It is important to consider both types of artwork as Claude Monet’s unique art collection that complement one another. The garden as well as the paintings not only give inspiration to viewers but also are a source of revenue due to its popularity as a tourist destination. Review of the Artwork Exhibition The artwork of Monet’s Garden depicts representations of the various objects and places of the garden itself.

These include the water lilies, the green arched bridge, pathways to the house, field of irises and day lilies. Some paintings illustrate the weather in Giverny such as the Rough Weather at Etretat, while others show people enjoying the scenery of the garden such as the painting Taking a Walk near Argenteuil. Most of Claude Monet’s paintings were drawn on oil on canvas with the size of the paintings varying widely from one another. The paintings are located in different areas all over the world, including Musee Marmottan Monet and Musee d’Orsay in Paris, Bridgestone Museum Art in Tokyo and Art Institute in Chicago, Illinois.

Time period of Monet’s work spanned decades, from the mid 19th century to the early 1920s. The initial impression on the overview of Monet’s collection is one of beauty represented in nature. An air of authority, artistry, and control sweeps through the paintings as it depicts the manipulation and color co-ordination that was employed to produce the deeply contrasting yet impressive artwork within the painting and the practical gardening. The wide range of colors different species of flowers, each with their own beauty has been portrayed from the water lilies in the pond, the roses in the pathways, day lilies, and irises.

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