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Monet Abstraction Musee Marmottan Paris

The Museum Marmottan take allok at the work of Money through the eye of Pollock, Rothko, Sam Francis and Gerhard Richter. The purpose is fascinating, the tone is just, subtle, works of very high quality. The exhibition at the Museum Marmottan could anyway deserve a better place for its measurement. Hooking Monet, principally that of last period, the Water Lilies and absolute freedom, with the abstract painters of the post-war and some great contemporary cultivating their continued love and a gesture of pure color is equal in fact, evoke a good deal of the epic of modernity in the twentieth century.  More pictures, more reconciliations, confrontations, would-on. Even if those who were selected are wonderful. The partnership Marmottan institution which has the largest collection of works by Monet with the Thyssen-Bornemisza Museum in Madrid, who has an outstanding collection, including on American Abstract Expressionists and European informalist could not be that successful. Such a glory, last winter in the Spanish capital during the first exhibition ... three times bigger. There, the Thyssen Museum, the rooms bright green, deep blue or sunshine yellow each time allowed splendid and surprising glimpses. They had nothing to do with the other works in the basement of a white more than doubtful of the venerable hotel's sixteenth district. Kandinsky lived like an epiphany discovered in Moscow in 1895, a painting of the series of wheels. She was the one kept in Zurich, foggier and flatter than that presented here next three spots with Picture (1914).  Followed by Rothko, which seems to hold Impression, Sunrise that red orange sun Havre, and Adolph Gottlieb including Roman Three is a green disc on yellow halo. Not far, Clyfford Still left in reserve white on his canvas, 1965. Just as in the evanescent Bras Seine painted in 1897.  After these variations on the concept of atmosphere, a second section has as its theme the gesture. Pollock sanctifies its spontaneity "drippings", made famous stripes now on a canvas setted horizontally. Before him, isolated and forgotten in his lab, the patriarch of Giverny had already ended the button. His cataract helping, he threw over the web as commas or its fast streamers, red, green or purple, which gives this unspeakable wealth "impression" of foliage, air, water and its reflections. The most stunning work is probably the luminous Japanese Bridge in 1918. Even then, Monet does not focus entirely on the texture and consistency. He did not jump that separates the ford of abstraction. However, the border is thin. The wonder is that he does not even consider it when it is so close. His painting extends beyond its borders, in a sort of "all-over" before the letter. And the drops of rain are just dripping. With intelligence, Marmottan takes care not to celebrate the prophet with Monet, we are still in prehistory. This will be Andre Masson, and Jean Bazaine, the Maria Elena Vieira da Silva or Zao Wou-ki, which, in hindsight, see the London fog, smoke trains from Charing Cross Bridge, and more in the water lilies in weightlessness, the beginnings of their art without form. Joan Mitchell, Jean-Paul Riopelle and Sam Francis will perform the pilgrimage to Giverny. In the garden-sanctuary of an old white-bearded man who could hardly see but which contemplated all. Monet and abstraction. What a story. This theme is infinitely rich that used for the new museum exhibit Marmottan, co-organized with the Thyssen-Bornemisza Museum in Madrid and Caja Madrid.  Often cited are the monet's series. On the subject of the Gare de l'Est, the Cathedral of Rouen on the haystacks. Finally, we must think of its many water lilies, beautifully enhanced by the staging of the Orangerie Museum. Also mentioned, and too often, perhaps, the complete analogy of Monet's work in the Impressionist movement, which takes its name from his work Impression, Sunrise, presented at the Salon des Refuses in 1874. But who looks at Monet, is also interested in the large innovation in which he lavished his time to art. A painting at the end of his life, almost contemplative, breaking the traditional conventions. A revolution. For who else has been able, through the brush, composing symphonies these colors? Renoir, certainly. Who knew his way to make these splashes of light? Turner, certainly. Who knew playing shape, texture, like Monet did it? Monticelli, undoubtedly. However if eminent painters of the nineteenth century have brilliantly contributed to develop modern theories, few of them have anticipated the upheavals of the twentieth century. Offering 44 paintings from impressionists and abstract expressionists for most museum collections Marmottan Monet and the Thyssen-Bornemisza Foundation, the exhibition "Monet and Abstraction" is a journey into pure painting, immersion in the subject, confrontation of masterpieces that are entangled melts and forms, color and light, gesture and material.  Commissioners Jacques Taddei and Paloma Alarco chose to alternate the Impressionist works by Monet's paintings with American or European Expressionist artists - as diverse as Kandinsky, Still, Rioppelle, Pollock Richter ... - by presenting them according to own theme. Thus, it appears that the art of Monet, somewhat shelved by the avant-garde of the early century, revived the curiosity of artists from the mid-twentieth century, anxious to identify new pictorial concepts relating to the reduction chromatic - Mark Rothko - the optical architecture - Clyfford Still - the terrain or structures - Nicolas de Stael. Continuously oscillating between abstraction and figuration, the visitor's eye reads, rediscovering and relearning to look at the paintings of Claude Monet. A multifaceted Monet, who seems to use his brush like a magic wand. Seen in this video, which shows the master keys to cast his colors in a back and forth incessantly, for his painting on it, which is merely part of nature's garden at Giverny even where his water lilies are born. Good idea also, the presentation of two pallets of Monet and daubed all still seem to rely on their own, the genius of abstract painter.

"Monet and Abstraction", Museum Marmottan until September 26, 2, rue Louis-Boilly 75016 Paris.
Tel.: 01 44 96 50 33.

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