LaurieAnnie's photos with the keyword: Venice

The Doge's Palace (Le Palais ducal) Daunted by Venice’s innumerable picturesque views and art-historical legacy, Monet delayed visiting the city until 1908. Once there, he explored familiar artistic concerns—reflection, atmosphere, and structure— through the city’s fundamental visual elements: its water, light, and architecture. To capture the Doge’s Palace, one of Venice’s most notable monuments, Monet positioned himself across an expanse of water, in a gondola. Despite the horizontal format of the canvas, and of the palace itself, the painter accentuated the vertical through reflection, dissolving the solid structure into a shimmer of pink, green, and yellow. Although Monet spent several sessions painting directly in front of his subject, he reworked this canvas in his Giverny studio in preparation for a 1912 exhibition. Artist: Claude Monet, French, 1840-1926 Medium: Oil on canvas Place Made: Europe Dates: 1908 Dimensions: 32 x 39 in. (81.3 x 99.1cm) Frame: 40 1/4 x 48 x 4 1/2 in. (102.2 x 121.9 x 11.4 cm) Signature: Signed and dated lower right: "Claude Monet 1908" Collections: European Art Museum Location: This item is on view in Beaux-Arts Court, South, 3rd Floor Accession Number: 20.634 Credit Line: Gift of A. Augustus Healy Text from: www.brooklynmuseum.org/opencollection/objects/4377/The_Do...

John Singer Sargent (artist) American, 1856 - 1925 Street in Venice, 1882 oil on wood overall: 45.1 x 53.9 cm (17 3/4 x 21 1/4 in.) framed: 65.4 x 76.2 x 6.4 cm (25 3/4 x 30 x 2 1/2 in.) Gift of the Avalon Foundation 1962.4.1 On View From the Tour: Whistler, Sargent, and Tanner — Americans Abroad in the Late 1800s Although best known for his fashionable formal portraits, John Singer Sargent was equally adept at landscapes and scenes of daily life. His early fame and astonishing facility with a brush prompted the American expatriate novelist Henry James, his close friend, to comment on “the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn.” Another of Sargent’s friends was the French impressionist Claude Monet, with whom he shared a love of painting en plein air, or out-of-doors. Street in Venice, created during the second of Sargent's numerous visits to that city, was done on the spot. Mediterranean sunshine penetrates the narrow confines of the Calle Larga dei Proverbi, a back alley near the Grand Canal. The emptiness of the silent street implies that Sargent depicted siesta, the time when many Italians rest for three hours at midday. One of two men conversing in the shadows is distracted by a girl strolling alone. Her skirt’s rustling hem and shawl’s flowing fringe are rendered with indistinct strokes that suggest her rapid pace will soon carry her beyond his lingering gaze. This combination of technical skill and emotional intensity goes far toward explaining why Sargent received more honors and medals than any previous artist, European or American. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46428

John Singer Sargent (artist) American, 1856 - 1925 Street in Venice, 1882 oil on wood overall: 45.1 x 53.9 cm (17 3/4 x 21 1/4 in.) framed: 65.4 x 76.2 x 6.4 cm (25 3/4 x 30 x 2 1/2 in.) Gift of the Avalon Foundation 1962.4.1 On View From the Tour: Whistler, Sargent, and Tanner — Americans Abroad in the Late 1800s Although best known for his fashionable formal portraits, John Singer Sargent was equally adept at landscapes and scenes of daily life. His early fame and astonishing facility with a brush prompted the American expatriate novelist Henry James, his close friend, to comment on “the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn.” Another of Sargent’s friends was the French impressionist Claude Monet, with whom he shared a love of painting en plein air, or out-of-doors. Street in Venice, created during the second of Sargent's numerous visits to that city, was done on the spot. Mediterranean sunshine penetrates the narrow confines of the Calle Larga dei Proverbi, a back alley near the Grand Canal. The emptiness of the silent street implies that Sargent depicted siesta, the time when many Italians rest for three hours at midday. One of two men conversing in the shadows is distracted by a girl strolling alone. Her skirt’s rustling hem and shawl’s flowing fringe are rendered with indistinct strokes that suggest her rapid pace will soon carry her beyond his lingering gaze. This combination of technical skill and emotional intensity goes far toward explaining why Sargent received more honors and medals than any previous artist, European or American. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46428

Claude Monet (artist) French, 1840 - 1926 Palazzo da Mula, Venice, 1908 oil on canvas overall: 61.4 x 80.5 cm (24 3/16 x 31 11/16 in.) framed: 86.3 x 105.4 x 10.7 cm (34 x 41 1/2 x 4 3/16 in.) Chester Dale Collection 1963.10.182 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46657

Claude Monet (artist) French, 1840 - 1926 Palazzo da Mula, Venice, 1908 oil on canvas overall: 61.4 x 80.5 cm (24 3/16 x 31 11/16 in.) framed: 86.3 x 105.4 x 10.7 cm (34 x 41 1/2 x 4 3/16 in.) Chester Dale Collection 1963.10.182 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46657