Clark Art Institute 3 of 11


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Therese Berard. French: Pierre-Aguste Renoir (1841-1919) Therese Berard was the niece of one of Renoir's primary patrons, the diplomat and banker Paul Berard. When the artist made this painting in the late 1870s, he was developing a reputation as a skilled portraitist. The brushwork is delicate and the palette is restrained compared to his more experimental work from this period, perhaps because Renoir acknowledged that with a portrait, it's necessary for a mother to recognize her daughter. 685.52 KB
Therese Berard. French: Pierre-Aguste Renoir (1841-1919) Therese Berard was the niece of one of Renoir's primary patrons, the diplomat and banker Paul Berard. When the artist made this painting in the late 1870s, he was developing a reputation as a skilled portraitist. The brushwork is delicate and the palette is restrained compared to his more experimental work from this period, perhaps because Renoir acknowledged that with a portrait, "it's necessary for a mother to recognize her daughter."
 Bather Arranging her Hair. French: Pierre-Auguste Renoi (1841-1919) 1885. Oil on canvas. Renoir painted this female nude at a pivotal moment in his career. In the 1870s, the artist experimented with Impressionist techniques, dissolving figures and forms in the atmospheric effects of light and shadow. By the 1880s, the figures in his paintings had become more solid and better defined. This shift in style is visible in the smooth texture of the woman's pearly skin and the crisp outline of the curves of her body set against a sketchy, vibrant background. 825.23 KB
Bather Arranging her Hair. French: Pierre-Auguste Renoi (1841-1919) 1885. Oil on canvas. Renoir painted this female nude at a pivotal moment in his career. In the 1870s, the artist experimented with Impressionist techniques, dissolving figures and forms in the atmospheric effects of light and shadow. By the 1880s, the figures in his paintings had become more solid and better defined. This shift in style is visible in the smooth texture of the woman's pearly skin and the crisp outline of the curves of her body set against a sketchy, vibrant background.
Tulip Fields at Sassenheim. French: Claude Moet (1840-1926) 1886. In 1886, Monet was invited by a French diplomat to visit Holland's famous tulip fields. The artist was concerned that the poor colors of modern oil paint might not effectively convey the fieldsvibrant hues. In the foreground of this view, the flowers are painted with thick, parallel strokes of bright red, yellow, violet, and cream, the colors glowing in the sunlight beneath a brilliant blue sky. Sterling Clark bought the work directly from the private collection of Monet's dealer, Paul Durand-Ruel, in 1933. 4,875.58 KB
Tulip Fields at Sassenheim. French: Claude Moet (1840-1926) 1886. In 1886, Monet was invited by a French diplomat to visit Holland's famous tulip fields. The artist was concerned that the "poor colors" of modern oil paint might not effectively convey the fields' vibrant hues. In the foreground of this view, the flowers are painted with thick, parallel strokes of bright red, yellow, violet, and cream, the colors glowing in the sunlight beneath a brilliant blue sky. Sterling Clark bought the work directly from the private collection of Monet's dealer, Paul Durand-Ruel, in 1933.
 The Geese. French: Claude Moet (1840-1926) 1874. The Geese was painted a few months after the first Impressionist exhibition and the painting's bright tone and thickly applied touches of color are characteristic of Monet's experimental technique during this period. More unusual is the painting's vertical format and dense composition. Tall trees shade a path that leads our eye from the rippling water in the foreground to the diminutive figures of a woman and child standing in front of a sunlit, whitewashed building. 5,497.56 KB
The Geese. French: Claude Moet (1840-1926) 1874. The Geese was painted a few months after the first Impressionist exhibition and the painting's bright tone and thickly applied touches of color are characteristic of Monet's experimental technique during this period. More unusual is the painting's vertical format and dense composition. Tall trees shade a path that leads our eye from the rippling water in the foreground to the diminutive figures of a woman and child standing in front of a sunlit, whitewashed building.
 Sleeping Girl. French: Pierre-Auguste Renoi (1841-1919) 1880. A young woman dozes in a chair, her striped stockings and plain skirt suggesting her humble background. The undergarment slipping off her shoulder attracts our gaze, while giving the impression that she is unaware of being observed. The model is thought to have been a resident of Montmartre known for her colorful slang and erratic lifestyle. The image's suggestive nature is underscored by the presence of the equally sleepy cat resting in her lap. 908.74 KB
Sleeping Girl. French: Pierre-Auguste Renoi (1841-1919) 1880. A young woman dozes in a chair, her striped stockings and plain skirt suggesting her humble background. The undergarment slipping off her shoulder attracts our gaze, while giving the impression that she is unaware of being observed. The model is thought to have been a resident of Montmartre known for her colorful slang and erratic lifestyle. The image's suggestive nature is underscored by the presence of the equally sleepy cat resting in her lap.
Spring in Giverny. French: Claude Monet (1840 - 1926) 1890. Oil on canvas. In 1883, Monet moved to Giverny, a small village northwest of Paris, where he cultivated his famous garden and painted the surrounding countryside. Touches of green and white in the foreground of this image lead our eyes to a screen of trees, through which we can just make out the white walls of a house. By using richly varied brushstrokes and excluding distinct points of interest, Monet draws our attention to the color and texture of the painting's surface. 1,477.53 KB
Spring in Giverny. French: Claude Monet (1840 - 1926) 1890. Oil on canvas. In 1883, Monet moved to Giverny, a small village northwest of Paris, where he cultivated his famous garden and painted the surrounding countryside. Touches of green and white in the foreground of this image lead our eyes to a screen of trees, through which we can just make out the white walls of a house. By using richly varied brushstrokes and excluding distinct points of interest, Monet draws our attention to the color and texture of the painting's surface.
 Rouen Cathedral, the Facade in Sunlight. French: Claude Monet (1840-1926) c. 1892-94. What a task this cathedral is! wrote Monet from Rouen, in a letter to his wife in Giverny. He painted nearly thirty views of the cathedral's facade, moving from one canvas to the next to capture different moments throughout the day. After returning home, he continued to work on this series for two more years. The encrusted brushstrokes on this canvas evoke the blinding radiance of sunlight glinting off pale stone. When the painting is viewed from a distance, the cathedral's arched doorways, rose window, and towers become clearly visible. 2,127.19 KB
Rouen Cathedral, the Facade in Sunlight. French: Claude Monet (1840-1926) c. 1892-94. "What a task this cathedral is!" wrote Monet from Rouen, in a letter to his wife in Giverny. He painted nearly thirty views of the cathedral's facade, moving from one canvas to the next to capture different moments throughout the day. After returning home, he continued to work on this series for two more years. The encrusted brushstrokes on this canvas evoke the blinding radiance of sunlight glinting off pale stone. When the painting is viewed from a distance, the cathedral's arched doorways, rose window, and towers become clearly visible.
 The Cliffs at Etretat. French: Claude Monet (1840 - 1926) 1885. Oil on canvas. Between October and December 1885, Monet made nearly fifty paintings of the Normandy coast. This work shows the Porte d'Aval, a naturally formed arch, and a freestanding needle-like rock that attraced tourists and artists alike to the town of Etretat. Monet painted this vieww of the cliffs from an unusual location, accessible only by boat or via a precipitous path. The writer Guy de Maupassant described how the artist watched the sun and the shadows, capturing in a few brushstrokes a falling ray of light or a passing cloud. 1,225.76 KB
The Cliffs at Etretat. French: Claude Monet (1840 - 1926) 1885. Oil on canvas. Between October and December 1885, Monet made nearly fifty paintings of the Normandy coast. This work shows the Porte d'Aval, a naturally formed arch, and a freestanding needle-like rock that attraced tourists and artists alike to the town of Etretat. Monet painted this vieww of the cliffs from an unusual location, accessible only by boat or via a precipitous path. The writer Guy de Maupassant described how the artist "watched the sun and the shadows, capturing in a few brushstrokes a falling ray of light or a passing cloud."
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