Charles S. Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. Paul Hayes Tucker. Monet in the '90s: The Series Paintings. Boston, , pp. Gary Tinterow. John Sallis. Virginia Spate. Claude Monet: Life and Work. Potter Palmer. A, ill. Felicity St. John Moore. Melbourne, [], pp. Katharine Baetjer. Monet or the Triumph of Impressionism. Cologne, , p. Georges Roque. Caroline Durand-Ruel. Sylvie Patin. Hamburg, , p.
Horst Keller. Eric M. Eik Kahng. Baltimore, , pp. Sandra Gianfreda. Gloria Groom and Jill Shaw. Chicago, , para. Kathryn Calley Galitz. Fort Worth, , p. Fort Worth, , pp. Laura D. Corey and Alice Cooney Frelinghuysen. Andrea Bayer with Laura D. South Brisbane, , ill. At Giverny Monet worked on a series of haystacks; he showed fifteen of them, including this work, at Durand-Ruel, Paris, in The further I go, the better I see that it takes a great deal of work to succeed in rendering what I want to render: "instantaneity," above all the enveloppe, the same light spread over everything, and I'm more than ever disgusted at things that come easily, at the first attempt.
Moving away from capturing the visual effects of light and weather by painting quickly and directly out of doors, Monet began pursuing the most ephemeral effects slowly and with deliberation, placing great importance on color, texture and the moods. He also sought to unify works in his multi-canvas series, bringing them into a unified whole.
The Haystacks series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural environmental variations. Although the harvest haystacks were ubiquitous in areas of France, Monet chose the subject after careful consideration, realizing that its simple shape served as the perfect vehicle for reaching his impressionistic objectives of showing a common subject against a wide variety of different seasonal, climatic and time-settings.
He was intrigued by the way different seasons and positions gave different color balances on the same object, attempting to catch it on canvas. After the summer harvest, the locals used straw or hay as a thatched "roof" for the stack, shielding the wheat, barley or oats from the elements until, once dry-enough, they could be separated from the stalks.
Traveling from village to village, it often took until the following spring or even later for all the stacks to be reached by the threshing-machines. This made the stacks the perfect subject, as they would stay throughout all the light and atmosphere changes of summer, autumn, winter and spring. The shape of the stacks that could be seen in Monet's works, round with quite steeply-pitched thatched 'roofs', was typical of Normandy, where Giverny is situated.
The haystacks already appeared as a motif in several of Monet's earlier canvases, such as the ones produced in and - Grainstacks at Giverny, sunset , Grainstacks, White Frost Effect and Grainstack at Giverny. However, these are not regarded as part of the series.
Created throughout , from late September or early October and over the next seven months into , the Haystacks series covered a full harvest season , allowing the artist to focus on as many aspects of the environment and its effects on his subject as possible.
He was particularly interested in the overall color harmonies that allowed him an autonomous use of rich color. Monet would be working with several canvases at once, due to the quickly changing scene, transporting them alongside paints and easels back and forth to site of the haystack. He would choose the one that most corresponded with the current conditions, then substitute it with another one after the conditions changed.
He worked on as many as ten or twelve paintings a day, each one depicting a slightly different aspect of light, sometimes taking only a few minutes for the light and the atmosphere to change. In search of harmonious transitions within the series, he would continue altering the canvases back in his studio. He once explained:. For me landscape hardly exists at all as landscape because it's appearance is constantly changing, but it lives by virtue of the surroundings, the air and light which vary continually Focusing on just one haystack allowed Monet to experiment with different compositions and go into far greater detail as to the effect of the distribution of light over the object.
The painter was particularly interested in sunsets and sunrises which gave him a whole new palette of colors. Toggle navigation Claude Monet. Haystacks, by Claude Monet Courtesy of www. Courtesy of www. Impression Sunrise. San Giorgio Maggiore at Dusk. Water Lilies. The Houses of Parliament, Sunset. The Artist's Garden. The Poppy Field. Garden Path at Giverny.
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