"In 1908, Claude Monet paid his first-and only-visit to Venice, at the encouragement of his wife Alice. At first, he was reluctant to leave his home in Giverny, but it didn't take long for him to recognize and ultimately treasure Venice's singular cityscape. It was there that Monet produced his last new works to ever be shown publicly during his lifetime, and it was there that he renewed his technical, thematic, and artistic skills."
"Opening on October 11, Monet and Venice showcases 19 of the artist's Venetian paintings, alongside more than 100 artworks, books, and ephemera that further exemplify his relationship with the Italian city. That relationship is mostly traced through curated pairings, where the idyllic, French landscapes for which Monet is known are contrasted with those he produced in Venice. Through such comparisons, the exhibition reveals that Monet's Venetian paintings are softer, more concerned with color, light, and atmosphere than with form and precision."
""Monet found the lagoon city an ideal environment for capturing the evanescent, interconnected effects of colored light and air that define his radical style," Lisa Small, senior curator of European Art at the Brooklyn Museum and the exhibition's co-curator, says. "In his Venice paintings, magnificent churches and mysterious palaces, all conjured in prismatic touches of paint, dissolve in the shimmering atmosphere like floating apparitions.""
Claude Monet visited Venice in 1908 at his wife Alice’s encouragement, initially reluctant but soon treasuring the city's singular cityscape. He produced his last new works shown publicly during his lifetime and renewed technical, thematic, and artistic skills there. Opening October 11 at the Brooklyn Museum, Monet and Venice presents 19 Venetian paintings alongside more than 100 artworks, books, and ephemera. Curated pairings contrast familiar French landscapes with the Venice paintings, which are softer and more focused on color, light, and atmosphere than on form. Venice’s churches, palaces, canals, water, and reflections dissolve into hazy, dream-like tones through choppier, multi-shaded brushstrokes.
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