Claude Monet's collection of Japanese prints.
Gourcuff Gradenigo / Claude Monet Giverny editions| N° d'inventaire | 25739 |
| Format | 24 x 30 |
| Détails | 192 p., richly illustrated, paperback. |
| Publication | Montreuil, 2022 |
| Etat | Nine |
| ISBN | 9782353403615 |
Claude Monet's collection of Japanese prints comprises over two hundred engravings. They are housed in the painter's house in Giverny and are displayed in particular in the famous dining room with its pale yellow paneling and bright yellow moldings, which was so popular with the house's regulars. This collection was assembled by the artist according to pictorial criteria that reflect a man who was enamored of lines and colors, but also a curious and passionate mind, concerned with the quality of the prints, their condition, and the print run.
The collection is varied and includes half of the famous pieces by Utamaro, Hokusai and Hiroshige but also rarer works by Eiri and Eisho or Sharaku.
Like his house and garden, this collection allows us to discover an intimate Monet who is different from the legend. His deep taste for these prints is undoubtedly explained by his understanding of these ukiyo-e engravers who revisit their themes endlessly, whether it be Mount Fuji for one or the sixty provinces for the other. Hokusai is very close to Monet, tirelessly repeating Rouen Cathedral or drowning his gaze in the contemplation of water lilies.
Claude Monet's collection of Japanese prints comprises over two hundred engravings. They are housed in the painter's house in Giverny and are displayed in particular in the famous dining room with its pale yellow paneling and bright yellow moldings, which was so popular with the house's regulars. This collection was assembled by the artist according to pictorial criteria that reflect a man who was enamored of lines and colors, but also a curious and passionate mind, concerned with the quality of the prints, their condition, and the print run.
The collection is varied and includes half of the famous pieces by Utamaro, Hokusai and Hiroshige but also rarer works by Eiri and Eisho or Sharaku.
Like his house and garden, this collection allows us to discover an intimate Monet who is different from the legend. His deep taste for these prints is undoubtedly explained by his understanding of these ukiyo-e engravers who revisit their themes endlessly, whether it be Mount Fuji for one or the sixty provinces for the other. Hokusai is very close to Monet, tirelessly repeating Rouen Cathedral or drowning his gaze in the contemplation of water lilies.