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, by Ross King
Free Download , by Ross King
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Product details
File Size: 62416 KB
Print Length: 416 pages
Publisher: Bloomsbury USA; 1 edition (September 6, 2016)
Publication Date: September 6, 2016
Language: English
ASIN: B01DM9Q5V8
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Make no mistake. This book is more about history than art. (Or the history of art, as I was taught it in college, where images cannot be separated from the artist and the times that produced them.) As someone who majored in art history in college, I found its blend of art, context and personality utterly compelling. But if you're looking for lavish illustrations of Monet's celebrated water lily paintings, as one reviewer lamented, you won't find them. (The Internet has scads of images of them, of course.)If, however, you're interested in a detailed, comprehensive and incisive account of Monet the man and the circumstances that led him to create his water lily paintings, or Grande Decoration, as he envisioned them, you'll find that in spades. And In my book, it's the only way they have any real meaning, and why I found the book so interesting.Author Ross King is a skilled, fluent writer, who brings the people and their era to life. He's done so much research that w=much of the book reads almost like fiction, with strongly defined characters and the kinds of details that grab your attention. (Monet's fondness for food, for instance, and the famous lunches he'd serve his guests.) The horrors of World War I, which was the backdrop behind many of Monet's water lily paintings (they helped serve as a distraction for him) are vividly depicted. And Monet's beloved home in Giverny is as much a character as his close friend, the statesman and journalist Georges Clemenceau and his family members, especially his stepdaughter, daughter-in-law and helpmate, Blanche. While Monet's Impressionist colleagues are dying (or have died), he remains robust for his age, even while the infirmities of old age are taking their toll, especially cataracts that make it harder and harder for him to see the colors and landscapes that led to his fame and fortune.In the end, this is a detailed snapshot of a period in the life of one of the world's greatest and most beloved artists, made possible through King's exhaustive research and skillful writing.If I have one gripe, it's that at times it seems as if the book is a bit too long, which is why I've deducted one star. But rest assured, if you're interested in late 19th/early 20th century art and the events and people who produced it, this is an exceptionally good read.
This is not a biography of Monet’s life. It is not a review of his prolific body of work. It is a story of the last 20 years or so, of the last living, and arguably greatest, Impressionist artist. The story is well positioned amidst the historical transition in France from the Belle Epoch through the horrors of German occupation in WWI. Some reviewers were disappointed by the focus on Clemenceau....I felt it was a bonus. Their lives were clearly intertwined, and I felt that I learned a lot about the marvelous old Tiger and his own epic role in history, and his strong advocacy for Monet.My strong likes include the accurate portrayal of Monet’s retreat to Giverny, and how he generated hundreds of paintings with his intermingled love of gardening on a grand scale. Compared to a sterile or idealized portrayal of Monet, I love the portrayal of Monet’s humanistic features: the good and the bad. We witness an artist, recognizing that he is past his prime, and close to death, physically and mentally struggling to complete one last epic work: the Grand Decoration. These are the black times in the closing years of any great artist.The book could well be considered the final chapter of Mr. King’s wonderful book “The Judgement of Parisâ€. Without reading that book first, “Mad Enchantment†could seem very incomplete. We learn for instance, that there are still strong critics of the whole Impressionist movement in the 1920’s, just as there were at the start of the Impressionist movement. Also since this book focuses on the struggles to complete the Grand Decoration with the water lilies, it skims over the dozens, if not hundreds, of other paintings produced by Monet during this time. If the story line seems disjointed it’s because Monet's efforts were mercurial during this period, ranging from frenetic painting, to months of inactivity, to months of physical struggling with his cataracts.Mr King is a great story teller. His great skill is placing the subject of his writings into appropriate historical context. He did the same with “Brunelleschi’s Domeâ€. I came away with a real sense of Monet’s last years, a greater impression of his will to live and create, and a real sadness for his personal struggles at the end of his life. He becomes “knowable†like a real acquaintance....and perhaps that is the greatest feat of Mr. King’s work.For readers who want a complete overview of the life of Monet and his work, there are other bibliographies. Carla Rachman’s 1997 effort for the Phaidon series of artists, is a good example. In fact there are many similarities of how Rachman and King record the last years of Monet’s life.
Full disclosure: I am an unrepentant fan of Monet, from his early experiments with light through the awe-inspiring panorama exhibited in l'Orangerie whose conception and implementation motivate this book. The Water-Lily project occupied much of the last decade-plus of Monet's life, hence was inevitably influenced by much that Monet experienced throughout this period: the personal tragedies of deaths in his family; the grand tragedy of World War I; the impact both of Monet's rather difficult personality and of his life on a pedestal during this period. But the story did not end even with Monet's death. The Water Lily exhibit that millions now queue up for had yet to endure the major "anti-Impressionism" art movement of the early-to-mid 20th century, until the post-World War II revival of appreciation of Monet and his oeuvre. I understand fully how many readers will chafe at King's detailed descriptions of the history that impacted Monet and of the personalities (mainly Clemenceau) that so influenced him, but I believe that one cannot fully understand the man and his mission without appreciating the magnitudes as well as the natures of these external influences. The book develops its portrait of Monet with sober sympathy: a difficult yet dedicated genius. As a final note, I really appreciatedKing's discussion in the Epilogue, of the artistic details in the "Water Lilies".
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