Monets Final Endeavor of water Lilies Art Visual Analysis

Cat. 47

Water Lily Pond1655
1917/191656
Oil on canvas; 130.2 × 201.9 cm (51 1/two × 79 1/2 in.)
Estate postage formerly at lower right:Claude Monet
The Fine art Found of Chicago, gift of Mrs. Harvey Kaplan, 1982.825

Revisiting the Water Lily Pond

With the exception of his series of London (see cats. 38–41) and Venice (see true cat. 45) paintings, Claude Monet primarily focused his attention subsequently 1899 on painting the water lily pond that he had built and gradually expanded on the property at his Giverny dwelling (fig. 15.61).1657 H2o Lily Swimming is an example of Monet's continued passion for the subject in the later years of his life, and this particular painting, equally characterized by Impressionist scholar Gloria Groom, "emerged out of his competing desire to make mural-like pictures that would create an all-over decorative environment."1658

The emphatically horizontal Water Lily Pond was probable executed between 1917 and 1919, 1 of a group of xix paintings that featured the pond'due south surface, studded with clusters of floating water lilies and impressions of the heaven reflected.1659 These were significantly larger than the artist'south earlier paintings of this field of study (see true cat. 37 and cat. 44); five were originally 130 × 200 cm and 14, 100 × 200 cm. Monet created these paintings as part of his process of working up to the three-, four-, and 5-meter panels that he officially offered to the French nation in 1922 and that were installed in the Musée de l'Orangerie, Paris, in 1927 (fig. 15.59).1660

Rejuvenating the Decoration

Monet had mentioned a ornamentation projection as early equally August 1897 to writer Maurice Guillemot, who had traveled to Giverny to interview the artist. Recalling his conversation with Monet, office of which took place nether a parasol on the bank of the pond, Guillemot described the setting and the decorative project that was percolating in Monet'south mind: "The oasis is [the most] charming of all the models he decided on; for these are the models for a decoration, for which he has already begun to pigment studies, large panels, which he showed me afterward in his studio. Imagine a circular room in which the dado beneath the molding is covered with [paintings of] water, dotted with these plants to the very horizon, walls of a transparency alternately green and mauve, the calm and silence of the still waters reflecting the opened blossoms. The tones are vague, deliciously nuanced, with a dreamlike delicacy."1661

It was non until Apr 30, 1914, that Monet returned to this idea with renewed interest: "I am even planning to embark on some big paintings, for which I found some onetime attempts in a basement," Monet wrote to his friend the art critic Gustave Geffroy.1662 "Clemenceau saw them and was amazed. Anyhow, y'all'll see something of this soon, I hope." By tardily May or early June 1914 Monet had begun work, and the following Jan, he starting time described the endeavor as his Grande décoration, "a project that I take been involved with for some fourth dimension already; h2o, water lilies, plants, but on a very large scale."1663

Leaving the Studio

Monet was very reluctant to permit outsiders see his piece of work in progress on the Grandes décorations, and about of the preparatory studies, like H2o Lily Pond, never left Monet's studio until well after his death, when they were rediscovered in the 1950s.1664 Indeed, Water Lily Pond one time diameter the Monet estate stamp that was applied to works that left posthumously (see Technical Written report; encounter also cat. 46). This did not deter dealers and collectors from trying to acquire them, however. In June 1920, Joseph Durand-Ruel came to Giverny with Mrs. Charles (Sara) Hutchinson (married woman of the president of the Board of Trustees of the Art Plant of Chicago) and Chicago collectors Mr. and Mrs. Martin Ryerson to negotiate purchase for the museum of what was afterward reported to be thirty paintings for 3 million dollars (fig. xv.56).1665

Monet allowed several of the nineteen large-scale works from the 1917–19 Water Lily Swimming series to get out the studio. He sold 4 to Bernheim-Jeune in November 1919 and donated i in 1922 to the Société d'Initiative et de Documentation Artistique in Nantes.1666 The art historian Paul Tucker has argued that Monet relinquished these paintings and so that he could reengage with the public market, for he had only parted with a handful of works since his sale of Venice pictures to Bernheim-Jeune in 1912.1667 These canvases, all signed and dated past Monet, provide an interesting comparison with the Art Institute's related, but unfinished H2o Lily Pond.1668 For example, in contrast to the slightly smaller Water Lilies (fig. xv.lx), now in the drove of the Metropolitan Museum of Art in New York, Tucker notes that the Art Constitute's painting "is more agitated and uncertain. Even the water lily pads appear both less defined and more independent, although they occupy essentially the aforementioned locations as in the finished motion picture. Moreover, the balance between the foliage and the reflections of sky in the water is more precarious."1669 Also notable are the areas of exposed ground around the edges and corners of the Chicago canvas (meet Technical Report). Monet was known to stop these areas final, just earlier giving information technology to a buyer.1670

Building upwardly H2o Lily Pond

In terms of the scale of the canvas and the size of the brushes used, Monet's Water Lily Pond differs profoundly from his earlier series of water lily swimming paintings that he executed between 1903 and 1908 (see cat. 44 and fig. 15.62). In both, Monet eliminated bear witness of the banks surrounding the pond, and focused solely on the surface of the water. The two works likewise reveal the importance that Monet placed on the location of the h2o lily groupings in his overall compositions. Every bit with his painting from 1906, Monet meticulously experimented with the placement of the clusters in Water Lily Pond as he adult other aspects of the picture; the ovoid shapes were changed, added, and removed at different times in each painting's development. Notably, Monet added the floral elements in multiple phases before and after he worked upward the complex reflections in the surface of the h2o.

The way in which Monet tweaked the floating floral groupings in Water Lily Pond is one indication that while the painting was a preparatory work, information technology was not one that Monet executed apace or without sustained endeavour. Technical examinations further reveal that he spent pregnant time working up Water Lily Pond. Over the course of a number of sessions, Monet created a thickly painted and highly textured surface in a series of [glossary:wet-over-dry out] paint applications (see Technical Written report). Although the painting was not considered "finished" by Monet, the circuitous topography (see fig. 15.55) of the surface that he adult could only accept been undertaken over a sustained period of fourth dimension.
Jill Shaw

Technical Report

Technical Summary

Claude Monet's Water Lily Pond was painted on a [glossary:pre-primed] linen [glossary:canvas], the dimensions of which are slightly larger than the largest advertised standard-size canvas, indicating that it was probably custom ordered. The [glossary:footing] consists of a single, fair layer. Virtually of the painting was thickly built up in a serial of [glossary:moisture-over-dry] paint applications, resulting in a highly textured surface. The edges and corners, on the other paw, were much more loosely painted using very thin washes of color that barely encompass the ground layer, followed past a few isolated, brushmarked strokes. Almost of the sparse paint around the edges was applied in the initial painting stages and passes underneath the more than congenital-upwardly paint of the interior of the composition, just boosted paint was as well practical to the edges after the painting was finished. The h2o lilies were added in two stages: both earlier and after the reflections of the foliage on the h2o were painted. As a result, some of the earlier flowers are partially or wholly obscured from view in the last composition. The water lilies visible on the surface were painted using thick impasted strokes, frequently practical [glossary:wet-in-wet] and with two or more unmixed colors picked upwardly on the brush. The paint has a noticeably dry, matte surface advent. An estate signature postage stamp was documented in the lower right corner in a 1963 photo. The stamp was removed, probably when the painting was cleaned and lined before inbound the Art Institute'south collection.1671

Multilayer Interactive Prototype Viewer

The multilayer interactive epitome viewer is designed to facilitate the viewer'south exploration and comparing of the technical images (fig. 1).1672

Signature

A black-and-white photograph taken in 1963 shows an estate signature stamp in the lower right corner: Claude Monet (fig. 2).1673 It is not known when, why, or by whom this estate stamp was removed, but it was probably done when the moving picture was cleaned and lined prior to entering the Art Institute's collection.

Construction and Technique

Support

Canvas

Flax (commonly known equally linen).1674

Standard format

The original dimensions were approximately 130 × 200 cm. This is slightly larger than the largest available standard-size canvas, a no. 120 (130 × 195 cm).1675 The canvas was probably custom ordered.

Weave

[glossary:Plain weave]. Average [glossary:thread count] (standard deviation): 26.8V (0.5) × 22.1H (0.ix) threads/cm; the vertical threads were determined to correspond to the [glossary:warp] and the horizontal threads to the [glossary:weft].1676 No weave matches were found with other Monet paintings analyzed for this project.

Sail characteristics

There is fairly regular, pronounced cusping on the left and right edges. Cusping on the superlative and bottom edges is milder and corresponds to the placement of the original tacks.1677

Stretching

Current stretching: Dates to [glossary:lining] carried out prior to acquisition (see Conservation History). Copper tacks spaced approximately vii–10 cm apart. The current stretcher is slightly larger than the original, and as a result, approximately 0.5–1.0 cm of unpainted priming from the [glossary:tacking margins] is now visible effectually the edges of the painting.

Original stretching: Tacks spaced approximately 10–12 cm apart (5–six cm apart near the corners).

Stretcher/strainer

Current stretcher: [glossary:ICA spring stretcher]; probably dates to preacquisition lining treatment (meet Conservation History). Depth: Approximately three.5 cm.

Original stretcher: Discarded, not documented.

Manufacturer's/supplier's marks

None observed in current examination or documented in previous examinations.

Preparatory Layers

Sizing

Not determined (probably glue).1678

Basis application/texture

The footing extends to the edges of the meridian and bottom tacking margins but stops short of the left and right edges. This indicates that the sail was cut from a larger piece of primed fabric on the top and bottom edges. The left and right edges probably correspond to the original edges of the larger fabric, which were attached to the commercial [glossary:priming] frame. The ground consists of a unmarried layer that ranges from approximately 40 to 115 µm in thickness (fig. iii).

Color

The basis is off-white with some dark particles visible under magnification (fig. 4).

Materials/limerick

Assay indicates that the footing contains pb white and barium sulfate with traces of calcium sulfate and bone black.1679 Binder: [glossary:Oil] (estimated).

Compositional Planning/Underdrawing/Painted Sketch

Extent/character

No [glossary:underdrawing] was observed with [glossary:infrared reflectography] (IRR) or microscopic examination.

Paint Layer

Application/technique and artist's revisions

Although the work may appear to be quite openly painted with sparse, wispy brushstrokes and sketchy edges and corners, it was actually built up in numerous superimposed layers of thick paint, culminating in a highly textured surface. The rough surface topography is due to both underlying and surface layers (fig. 15.63, fig. five). The [glossary:X-ray] further reveals a dense mass of brushwork covering most of the canvas (fig. 6). Toward the edges and especially at the corners, on the other hand, the piece of work is much more thinly painted, with the ground layer left exposed in places (fig. eight). In these areas, the artist used very thin washes of translucent color that nowadays a flat, matte surface and go out the texture of the canvas weave axiomatic (fig. x); in places, the ground layer remains exposed between brushstrokes. This peripheral paint appears to have been significantly thinned with solvent, and a few drip marks are visible on the surface (fig. 9).1680 For the nearly role, these washes appear to have been practical in the initial painting stages since they extend underneath the thicker paint buildup of the interior of the composition. Examples of this include the upper right corner where the sparse orangish and light-green layers extend underneath the thicker, castor-marked strokes (fig. 7) and at the left side, where the flower was painted on superlative of the thin green paint originating from the border (fig. 12.12). In a few places, nonetheless, paint from the edges passes over the more worked-up areas of the painting, indicating that at least some of the edge strokes were afterwards additions. This is evident in places along the lesser edge (fig. 12.13). In addition, in one area, near the upper left corner, some thin, pale-green paint passes over a thick, dark-green stroke from the more built-up area of the painting. The pale green can also be seen to extend over a few small losses of the paint and footing layers in that expanse (fig. 12.14), suggesting that the edges may have been reworked after the artist's death.1681

The corners and edges may give some indication of the general [glossary:lay-in] of the work. In these areas, on top of the first, thin washes, the creative person began building up texture with depression-relief brushmarks applied broadly in long, curving strokes (fig. 15.30). However, the dense brushwork in the more worked-up area of the painting makes it hard to trace the progression of the painting process. Close examination of the X-ray shows both long, directional strokes, in every orientation, and more curving, circular strokes (fig. 17.71). The underlying brushwork seems unrelated to specific forms in the concluding composition and does not appear to correspond any legible pentimenti. It is difficult to say whether earlier forms were painted out, just it does seem that much of this brushwork was designed to build up a network of colour and texture that contributes to the final appearance of the painting. This is evident, for case, in the way that lighter colors from before pigment layers show through small breaks in the brushwork applied on superlative (fig. fifteen.32), and the way that the texture of underlying brushmarks remains evident fifty-fifty when covered by subsequent layers of paint (fig. 17.72). Texture from the before layers is actually emphasized by the artist'southward technique of applying fairly thin, calorie-free-handed strokes that graze the peaks of the already dry out castor ridges and [glossary:impasto] underneath, creating a sort of corrugated texture on the surface (fig. 15.34). The fact that the painting was carried out with multiple layers of wet-over-dry paint application suggests that the piece of work was executed in several sessions.

The leaf reflected on the surface of the water was created with strokes of thin, opaque pigment in bawdy tones of light-green, brown, and red (fig. fifteen.35). The h2o lilies seem to accept been added in two phases, both before and later on the reflections were painted. The earlier flowers were ultimately by and large obscured past subsequent brushwork. The water lilies most the surface were typically laid in using brusque strokes of thick atomic number 82 white–rich paint practical on elevation of the h2o (fig. 15.36). Most of the flowers appear in the 10-ray as dense, relatively [glossary:radio-opaque] areas (fig. 15.33). Several additional, similarly dense strokes are also visible in the upper part of the X-ray, simply are not apparent in the final composition, suggesting that other flowers were initially included only were subsequently painted over. Under close exam, the vivid colors of the painted-out flowers sometimes remain visible through breaks in the brushwork.1682 Water lilies were added and painted out at different stages of the painting process, every bit Monet continued to experiment with their placement and degree of prominence. This tin can be seen, for example, in the group of calorie-free-orangish-red flowers well-nigh the upper correct corner. Colorful brushstrokes to the left of and beneath the flower on the far left seem to be related to water lilies that were later on painted over with the green and brown strokes from the reflections in the h2o (fig. 15.38) earlier the surface flower was added. The blossom in the heart of the grouping was partially covered by the strokes of pale gray drawn horizontally across it. This grey pigment continues underneath the flower on the right, which must take been added to the limerick later (fig. xv.31). The clusters of water lily plants visible at the surface were painted using thick, impasted strokes, oftentimes with two or three incompletely mixed colors picked upwardly on the brush (fig. 15.39, fig. fifteen.xl). Thickly loaded brushstrokes were ofttimes swirled together wet-in-wet (fig. xv.41) or dragged so lightly across the painting that they skip over the surface in places (fig. 15.37); these latter strokes were frequently used to define the edges of the lily pads (fig. 15.42, fig. 15.43). Overall, the paint has a notably dry, matte surface appearance.1683

Painting tools

Brushes, including 1.0 and 2.0 cm width (based on width of brushstrokes).

Palette

Assay indicates the presence of the following [glossary:pigments]: lead white, cadmium xanthous, cadmium orangish, zinc yellow, vermilion, ruddy lake, viridian, cobalt bluish, ultramarine blue, and cobalt violet.1684 The presence of a brilliant-orangey-pink [glossary:fluorescence] under [glossary:UV] light suggests that the artist used ruby lake in the flowers.1685

Binding media

Oil (estimated).1686

Surface Finish

Varnish layer/media

The painting is currently unvarnished. A [glossary:synthetic varnish], practical at an unknown date prior to acquisition by the Art Institute in 1982, was removed in 2005. During the 2005 treatment, it was noted that no traces of an earlier [glossary:natural-resin varnish] were evident. The painting has a by and large dry out, matte appearance with slightly more glossy areas in some areas of impasto.

Conservation History

There is no documentation of handling carried out earlier the painting was acquired in 1982; withal, at some point before the painting was acquired by the Fine art Found, the sheet was wax-resin lined and stretched on an ICA jump stretcher, and a synthetic varnish was practical.

In 2005, the synthetic varnish was removed and the painting was left unvarnished.1687

Condition Summary

The painting is in good condition. The canvas is wax-resin lined and stretched taut and in aeroplane on an ICA spring stretcher. There is general chafe and tiny losses of the footing layer on the tacking margins and forth the original foldovers. The paint layer is thickly built up over nearly of the surface, except at the edges and corners where thin washes of pigment were used; some drip marks from the fluid pigment application are visible on the surface. The corners and edges were painted, for the virtually part, in the early stages of work on the canvas, although in some places, specially along the bottom edge, the washes extend over more built-up areas of the painting. In 1 place, virtually the upper left corner, this paint passes over a few small paint losses, suggesting that areas around the edges may have been reworked later the artist's expiry. There are fine [glossary:drying cracks] throughout much of the surface, which seem to be related to the layering of sparse, lean paint over thick, slower-drying layers. There are a few pocket-sized paint losses, generally near the edges, that announced to be old. There are some random paint splatters near the lesser edge of the canvass. Fibrous tissue residues are visible in several places on the pigment surface, probably from a facing practical during the lining. The painting is currently unvarnished.
Kimberley Muir

Frame

Current frame (installed in 2008): The frame is non original to the painting. Information technology is an American, twenty-offset-century reproduction of an early-twentieth-century, French, molding frame with a slight cushion profile. Information technology is oil gilt over a black oil paint base. The pino molding is nailed and mitered at the corners (fig. 15.44).1688

Previous frame (installed by 1983; removed 2008): The work was previously housed in an American, mid-twentieth-century reproduction of a Louis XVI, golden, architrave frame with carved outer ribbon-and-stave and inner ribbon ornament and an independent linen liner (fig. fifteen.54).1689
Kirk Vuillemot

Provenance

By descent from the artist (died 1926) to his son, Michel Monet, Giverny.1690

Probably acquired by Katia Granoff, Paris, by Oct. 16, 1956.1691

Caused by Paul Rosenberg, New York, by October. 16, 1956.1692

Sold past Paul Rosenberg, New York, to Mr. Harvey Kaplan, Chicago, October. sixteen, 1956.1693

By descent from Mr. Harvey Kaplan (died 1964) to his married woman Mrs. Harvey (Ruth Grand.) Kaplan.

Given past Mrs. Harvey Kaplan, Chicago, to the Fine art Plant of Chicago, beginning in 1982.1694

Exhibition History

Possibly Basel, Kunsthalle Basel, Impressionisten: Monet, Pissarro, Sisley, Vorläufer und Zeitgenossen, Sept. three–Nov. 20, 1949, cat. 203.1695

Art Found of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men's Council of the Art Institute, Sept. 20–Oct. 27, 1963, no true cat. no. (sick.).

Fine art Institute of Chicago,Paintings by Monet, Mar. 15–May xi, 1975, true cat. 121 (sick.).

Art Plant of Chicago,Claude Monet, 1840–1926, July 22–Nov. 26, 1995, true cat. 148 (ill.).

Fort Worth, Tex., Kimbell Art Museum,The Impressionists: Master Paintings from the Art Constitute of Chicago, June 29–Nov. 2, 2008, cat. 92 (sick.).

New York, Gagosian Gallery, Claude Monet: Late Work, May 1–June 26, 2010, no true cat. no. (ill.).

Selected References

Kunsthalle Basel, Impressionisten: Monet, Pissarro, Sisley, Vorläufer und Zeitgenossen, exh. true cat. (Kunsthalle Basel, [1949]), p. 36, cat. 203.1696

Art Found of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men'southward Council of the Fine art Constitute, exh. true cat. (Art Establish of Chicago, [1963]), pp. 4; 52, pl. 41.

Denis Rouart and Jean-Dominique Rey,Monet, nymphéas, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 174 (sick). Translated by David RadzinowiczasMonet, Water Lilies: The Complete Series, rev. ed., with a cat. rais. past Julie Rouart with Camille Sourisse (Flammarion/Rizzoli, 2008), p. 141 (ill.).1697

Susan Wise, ed.,Paintings by Monet, exh. cat. (Art Establish of Chicago, 1975), p. 178, cat. 121 (sick.).

"Chicago Gets New Monet to Splash In," Chicago (October. 1982).

Art Institute of Chicago, "Acquisitions," Mosaic (Nov.–Dec. 1982), p. 6 (sick.).

Daniel Wildenstein,Claude Monet: Biographie et catalogue raisonné, vol. four, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 288; 289, true cat. 1889 (sick.).

Andrew Forge,Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 66; 105, pl. 34; 109.

Charles F. Stuckey, with the assistance of Sophia Shaw,Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 171, cat. 148 (sick.); 247.

Daniel Wildenstein,Monet, or The Triumph of Impressionism, true cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 415, true cat. 1889 (ill.).

Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. four, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Plant, 1996), pp. 896–97, true cat. 1889 (ill.).

Paul Hayes Tucker, with George T. M. Shackelford and Mary Anne Stevens, Monet in the 20th Century, exh. cat. (Majestic Academy of Arts, London/Museum of Fine Arts, Boston/Yale University Printing, 1998), pp. 68–69, fig. l (ill.); 218.

Renate and Paul Woudhuysen-Keller, "Claude Monet'due south Series 50'Allée de Rosiers: History, Materials, Painting Technique—Removal of Over-paint," in Monet: Atti del convegno, ed. Rodolphe Rapetti, Mary Anne Stevens, Michael Zimmerman, and Marco Goldin (Linea d'Ombra, 2003), p. 160, n. 8.

Alan K. Artner, "Art Institute given major Monet piece of work," Chicago Tribune, Aug. 25, 2005, section five, p. half dozen (ill.).

Gloria Groom, "Water Lily Pond," in "Notable Acquisitions at the Art Institute of Chicago," special consequence,Art Institute of Chicago Museum Studies 32, 1 (2006), pp. 60 (ill.), 61 (detail), 95.

Joseph Baillio, "Katia Granoff (1895–1989): Champion of the Late Works of Claude Monet," in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 39, fig. 12; 41.

James A. Ganz and Richard Kendall, The Unknown Monet: Pastels and Drawings, exh. true cat. (Sterling and Francine Clark Fine art Institute/ Yale Academy Press, 2007), pp. 268; 269, fig. 273, 270.

Eric Yard. Zafran, "Monet in America," in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 140.

Gloria Groom and Douglas Druick, with the aid of Dorota Chudzicka and Jill Shaw,The Impressionists: Primary Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 25 (ill.); 163; 176–77, cat. 92 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw,The Historic period of Impressionism at the Fine art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 25 (ill.); 163; 176–77, true cat. 92 (sick.).1698

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist's Life (Academy of Chicago Press, 2010), pp. 228–29, fig. fifteen.seven.

Paul Hayes Tucker, ed.,Claude Monet: Late Work, exh. cat. (Gagosian Gallery, 2010), pp. 64–65 (ill.); 113.

Paul Hayes Tucker, "Monet: Public and Private," in Claude Monet: Late Work, ed. Paul Tucker, exh. cat. (Gagosian Gallery, 2010), p. 35.

Location/Negative #	Format	Purpose	Date	Lighting, Notes
C11546	Print		Unknown	In curatorial file
Conservation	8 × ten B&W negative	Pretreatment	Apr. 4, 1974	Normal, overall
Conservation	8 × 10 B&Due west negative	Pretreatment	Apr. 4, 1974	Normal, verso
Conservation	eight × ten B&W negative	Pretreatment	Apr. four, 1974	Ultraviolet, overall
Conservation	4 × 5 B&West negative	Pretreatment	April. four, 1974	Infrared, overall
C40416			May 7, 1974
E17319			December. 1, 1985	Normal, overall
E9089	CT		1989?	Normal, overall
E17778	CT		1989?	Normal, item: span at lower left and water
E17777	CT		Mar. 1989?	Normal, detail: bridge
Conservation	35 mm color slide	Pre- and posttreatment	Aug. 22 and Sept. 4, 2003	Photomicrographs of surface; earlier and afterwards cleaning (17 total)
G28197	Digital	Loan/publication	Feb. 7, 2008	Normal, overall
G28198	Digital	Loan/publication	Feb. 7, 2008	Normal, detail
132152	Digital	Loan examination	Nov. 2008	Annotated image E17319
Conservation	Digital	OSCI	December. 2010	Detail images and scans of verso, labels (21 total)
Conservation	Digital	OSCI	Dec. 8, 2010	Normal, overall
Conservation	Digital	OSCI	Dec. 8, 2010	Infrared (Fuji, 1000B/2 mm filter), overall
Conservation	Digital	OSCI	Dec. viii, 2010	Raking light, overall (ii total)
Conservation	Digital	OSCI	Dec. 8, 2010	Ultraviolet, overall
Conservation	Digital	OSCI	Dec. eight, 2010	Transmitted calorie-free, overall (ii total)
Conservation	Digital	OSCI	Dec. 8, 2010	Transmitted infrared (Fuji, 1000B/2 mm filter), overall and left and correct sides/blended (4 total)
Conservation	Digital	OSCI	Dec. 8, 2010	10-ray films scanned/digitally composited, overall
Conservation	Digital	OSCI	Dec. ten, 2010	Macro details (15 total)
Conservation	Digital	OSCI	Dec. xiv, 2010	Photomicrographs of surface (36 total)
Conservation	Digital	OSCI	Dec. 22, 2010	Photomicrographs of two sample sites (11 total)
G39364	Digital	OSCI	February. 14, 2012	Ultraviolet, overall
G39363	Digital	OSCI	Feb. 22, 2012	Normal, overall; blended of G39666–G39695
G39365	Digital	OSCI	February. 22, 2012	Normal, frame only
G39666–G39695	Digital	OSCI	February. 22, 2012	Sections (xxx total)

Monets Final Endeavor of water Lilies Art Visual Analysis

Cat. 47

Revisiting the Water Lily Pond

Rejuvenating the Decoration

Leaving the Studio

Building upwardly H2o Lily Pond

Technical Report

Technical Summary

Multilayer Interactive Prototype Viewer

Signature

Construction and Technique

Support

Canvas

Standard format

Weave

Sail characteristics

Stretching

Stretcher/strainer

Manufacturer's/supplier's marks

Preparatory Layers

Sizing

Basis application/texture

Color

Materials/limerick

Compositional Planning/Underdrawing/Painted Sketch

Extent/character

Paint Layer

Application/technique and artist's revisions

Painting tools

Palette

Binding media

Surface Finish

Varnish layer/media

Conservation History

Condition Summary

Frame

Provenance

Exhibition History

Selected References

Other Documentation

Paul Rosenberg Archival Documentation

Labels and Inscriptions

Undated

Pre-1980

Mail-1980

Examination and Assay Techniques

X-radiography

Infrared Reflectography

Transmitted Infrared

Visible Low-cal

Ultraviolet

High-Resolution Visible Light (and Ultraviolet)

Microscopy and Photomicrographs

X-ray Fluorescence Spectroscopy (XRF)

Polarized Light Microscopy (PLM)

Scanning Electron Microscopy/Energy-Dispersive 10-ray Spectroscopy (SEM/EDX)

Automated Thread Counting

Image Registration Software

Image Inventory

0 Response to "Monets Final Endeavor of water Lilies Art Visual Analysis"

Post a Comment

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel