Day 120. London
День 120. Лондон
Tate Modern
Claude Monet and Abstract Expressionism
Claude Monet's semi-abstract late paintings were not widely appreciated until the 1940s, a time when critics began to recognise their affinities with Abstract Expressionism.
American abstract painting of the late 1940s and 1950s was initially considered radically new, emerging from the aftermath of the Second World War and provoking a rupture with all that went before. However, there were important precedents for the innovations of this younger generation in Monet's paintings of the water lily pond in his garden at Giverny. In these large-scale works, which occupied Monet from around 1916 onward, he seemed less concerned to depict a particular motif in the landscape than to capture particular qualities of light and atmosphere. Of especial significance was Monet's 'all-over' technique, in which he rejected traditional means of organising space such as perspective, or providing points of reference such as a centre or horizon line. Instead, he created a single fluid surface modulated by colour, tone, texture and brushwork.
These are features that come to the fore in Abstract Expressionist painting. Mark Rothko's desire to immerse the viewer in an atmosphere generated through colour and light echoes the enveloping, sensory power of Monet's paintings. (© Tate Modern)
Tate Modern
Claude Monet and Abstract Expressionism
Claude Monet's semi-abstract late paintings were not widely appreciated until the 1940s, a time when critics began to recognise their affinities with Abstract Expressionism.American abstract painting of the late 1940s and 1950s was initially considered radically new, emerging from the aftermath of the Second World War and provoking a rupture with all that went before. However, there were important precedents for the innovations of this younger generation in Monet's paintings of the water lily pond in his garden at Giverny. In these large-scale works, which occupied Monet from around 1916 onward, he seemed less concerned to depict a particular motif in the landscape than to capture particular qualities of light and atmosphere. Of especial significance was Monet's 'all-over' technique, in which he rejected traditional means of organising space such as perspective, or providing points of reference such as a centre or horizon line. Instead, he created a single fluid surface modulated by colour, tone, texture and brushwork.
These are features that come to the fore in Abstract Expressionist painting. Mark Rothko's desire to immerse the viewer in an atmosphere generated through colour and light echoes the enveloping, sensory power of Monet's paintings. (© Tate Modern)
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