LaurieAnnie's photos with the keyword: waterlilies

East Garden Beyond the East stair in the Museum lies the East Garden, one of the most tranquil spaces at the Villa. This walled sanctuary is shaded by sycamore and laurel trees and animated by splashing water from two sculptural fountains. Theatrical masks adorn the mosaic-and-shell fountain on the east wall, while sculpted bronze civet heads spout playful streams from the fountain at the center of the space. Text from: www.getty.edu/visit/see_do/gardens.html

East Garden Beyond the East stair in the Museum lies the East Garden, one of the most tranquil spaces at the Villa. This walled sanctuary is shaded by sycamore and laurel trees and animated by splashing water from two sculptural fountains. Theatrical masks adorn the mosaic-and-shell fountain on the east wall, while sculpted bronze civet heads spout playful streams from the fountain at the center of the space. Text from: www.getty.edu/visit/see_do/gardens.html

East Garden Beyond the East stair in the Museum lies the East Garden, one of the most tranquil spaces at the Villa. This walled sanctuary is shaded by sycamore and laurel trees and animated by splashing water from two sculptural fountains. Theatrical masks adorn the mosaic-and-shell fountain on the east wall, while sculpted bronze civet heads spout playful streams from the fountain at the center of the space. Text from: www.getty.edu/visit/see_do/gardens.html

Claude Monet. (French, 1840-1926). Reflections of Clouds on the Water-Lily Pond. c. 1920. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund. Gallery label text 2006 The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium." Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 98 Visitors to Monet's Giverny studio in 1918 found "a dozen canvases placed in a circle on the floor . . . [creating] a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." What they had seen was a group of paintings that Monet planned to install abutting each other in an oval, encompassing the viewer in a sensually enveloping space. The aim, he said, was to supply "the illusion of an endless whole, of water without horizon or bank." The Water Lilies triptych comes from this series, which describes a scene Monet not only showed in art but shaped in life: the pond in his own garden. Like his fellow Impressionists, Monet, when young, had attempted a faithfulness to perceived reality, trying to capture the constantly changing quality of natural light and color. The Water Lilies, though, seem nearly abstract, for their scale and allover splendor so immerse us in visual experience that spatial cues dissolve: above and below, near and far, water and sky commingle. Perhaps this was the quality that led Monet's visitors to say, "We seem to be present at one of the first hours in the birth of the world." Yet Monet's desire that the installation create "the refuge of a peaceful meditation" seems equally just. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Claude Monet. (French, 1840-1926). Reflections of Clouds on the Water-Lily Pond. c. 1920. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund. Gallery label text 2006 The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium." Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 98 Visitors to Monet's Giverny studio in 1918 found "a dozen canvases placed in a circle on the floor . . . [creating] a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." What they had seen was a group of paintings that Monet planned to install abutting each other in an oval, encompassing the viewer in a sensually enveloping space. The aim, he said, was to supply "the illusion of an endless whole, of water without horizon or bank." The Water Lilies triptych comes from this series, which describes a scene Monet not only showed in art but shaped in life: the pond in his own garden. Like his fellow Impressionists, Monet, when young, had attempted a faithfulness to perceived reality, trying to capture the constantly changing quality of natural light and color. The Water Lilies, though, seem nearly abstract, for their scale and allover splendor so immerse us in visual experience that spatial cues dissolve: above and below, near and far, water and sky commingle. Perhaps this was the quality that led Monet's visitors to say, "We seem to be present at one of the first hours in the birth of the world." Yet Monet's desire that the installation create "the refuge of a peaceful meditation" seems equally just. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Claude Monet. (French, 1840-1926). Reflections of Clouds on the Water-Lily Pond. c. 1920. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund. Gallery label text 2006 The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium." Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 98 Visitors to Monet's Giverny studio in 1918 found "a dozen canvases placed in a circle on the floor . . . [creating] a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." What they had seen was a group of paintings that Monet planned to install abutting each other in an oval, encompassing the viewer in a sensually enveloping space. The aim, he said, was to supply "the illusion of an endless whole, of water without horizon or bank." The Water Lilies triptych comes from this series, which describes a scene Monet not only showed in art but shaped in life: the pond in his own garden. Like his fellow Impressionists, Monet, when young, had attempted a faithfulness to perceived reality, trying to capture the constantly changing quality of natural light and color. The Water Lilies, though, seem nearly abstract, for their scale and allover splendor so immerse us in visual experience that spatial cues dissolve: above and below, near and far, water and sky commingle. Perhaps this was the quality that led Monet's visitors to say, "We seem to be present at one of the first hours in the birth of the world." Yet Monet's desire that the installation create "the refuge of a peaceful meditation" seems equally just. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Claude Monet. (French, 1840-1926). Reflections of Clouds on the Water-Lily Pond. c. 1920. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund. Gallery label text 2006 The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium." Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 98 Visitors to Monet's Giverny studio in 1918 found "a dozen canvases placed in a circle on the floor . . . [creating] a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." What they had seen was a group of paintings that Monet planned to install abutting each other in an oval, encompassing the viewer in a sensually enveloping space. The aim, he said, was to supply "the illusion of an endless whole, of water without horizon or bank." The Water Lilies triptych comes from this series, which describes a scene Monet not only showed in art but shaped in life: the pond in his own garden. Like his fellow Impressionists, Monet, when young, had attempted a faithfulness to perceived reality, trying to capture the constantly changing quality of natural light and color. The Water Lilies, though, seem nearly abstract, for their scale and allover splendor so immerse us in visual experience that spatial cues dissolve: above and below, near and far, water and sky commingle. Perhaps this was the quality that led Monet's visitors to say, "We seem to be present at one of the first hours in the birth of the world." Yet Monet's desire that the installation create "the refuge of a peaceful meditation" seems equally just. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...