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I need a response to this comment ?Wooo! His (Monet) water Lily work near end of life shows transition to more abstract art ?post-Impressionism?, which impressionism in itself was moving away from realism? match that energy to his later work? Has he simply lost it all? Are we being too modest?It is from the second half of Monets life that the most rigorous work emerges in his art. In March 1917, Monets became a professor at the University of Chicago, where he wrote his first, and so far only, book, The Instructor of Modern Art (1915), in which he lays out a rosy-cheeked, unrealistic, and idyllic picture of early modernism. The instructor, he says, taught art to be indifferent, an indifferent world. But Monets taught himself to be indifferent. He would say, I learned in school that feeling and feeling, content and contentment, were always linked to pain and pain contentment.Then comes the lesson to us: Monets is an unreflective intellectual who is profoundly sensitive to the emotions of the human race, to pain and pain contentment. He had an eye for them, an ability to penetrate their deepest recesses. He developed a sophisticated taste for our most primitive kind of artistic art, from crude woodcut prints and figures to abstract mosaics and illuminated manuscripts. His wry sense of humor made him a perfect foil for the more direct, sophisticated, contemplative art of his time. His early works recall his youth in Italy: young poets reading and thought-provoking books on the theme of love and lust. His more recent paintings and sculptures, as in his earlier work, show a more mature approach to his artistic sources, and a more mature awareness of his emotions. These paintings and sculptures can be traced back to the sacred images he observed in the Minoan art of his family.Like his drawings, Monets work is a collection of random, abstractions, of scraps of story and of emotion. His paintings show a general discovery of one side of the human soul. Monets was no doctrinaire schoolboy; he found his art here and now.

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and sparkle in the new abstraction, which, however, was just as young, right about the moment, and was keeping pace with us, too. John Lodge is a contributing editor of Artforum.com.

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I need a response to this comment ?Wooo! His (Monet) water Lily work near end of life shows transition to more abstract art ?post-Impressionism?, which impressionism in itself was moving away from realism? match that energy to the isms of the age ? (Certainly, the essential continuity in Monets work was his love of portraiture, his art for the particular).After all, Monet himself wrote in 1930 that at the moment when he was to die he was to produce a large painting with the complexity of a seaplane. Only a few years later did he realize his dream, while the rest are too soon forgotten.Monets paint-surface structure is rather complex in its complexity, despite his simplicity and poetic surface. He uses an irregular, even-tempered grid; his very color is thickly applied. The spatial relationships between the squares of the grid are so important that they often depend on the spatial orientation of the planes behind them. As Monets paintings develop, he begins to play with color, to expand his field. His color in his paintings is very controlled, a little warmer than that of his early Seaplane, but not too warm, either. Now, he begins to focus on the surfaces of his paintings and work them into the contours of the planes behind them. I wonder if they are the same color as the planes behind the paintings. Of course, they arent, and it is not just because they are so close together. The shape of Monets surface as a whole is more complex than the shape of the planes behind them. The planes are sometimes wider, sometimes narrower than the shape of the paintings, and sometimes overlapping. The colors, too, are delicate and bright. The paint-surface structure and surface depth of Monets works is both beautiful and complicated. Monet himself wrote that the paintings on canvas are made up of five distinct elements, each placed in a particular square. But with Monets painted surface he had created five distinct planes, each with a different shape and color.

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I need a response to this comment ?Wooo! His (Monet) water Lily work near end of life shows transition to more abstract art ?post-Impressionism?, which impressionism in itself was moving away from realism? match that energy to his work. Works of the 30s and 40s that are by now so close to realist art are so close to their origins, so close to their moving parts, that it is difficult to say which is real and which is made-up. This is, of course, more of a stylistic difference than an actual difference. I suspect that he is just being observant and attentive and picky about where he stands. The ideal of the free-floating painter—that you could paint a picture anywhere—is not an American invention, but one that is almost a universal one.The way Monet looked in his paintings was so apparent it was hard to get a good sense of where he stood, but it wasnt that Monet turned the world upside down. His paintings resembled the simple perfections of very few of his contemporaries—including, in fact, many of his own compatriots. There was a great deal of artistic freedom here—and also a great deal of material freedom. Monet was a master of both. No doubt the material world had its place—Monet himself even had a circular canvas that he painted on to the wall and still he was not quite finished. The material world, if it was to do his work justice, would have had a certain critique of it. The material world, if it was to do his work justice, would have had a certain critique of it. These paintings are wonderfully solid, very solid, but it is the matter of whether you like Monets work or not—whether its artist, its material, or a combination of the two.The paintings that Monet made before World War II are much more complex. These paintings show that Monet had a strong and clear sense of what he wanted to do in his art—not to say that he didnt want to make art but he didnt want to do it correctly, which is to say that he didnt want to make art with what he wanted to do.