Analyzing Monets Grand Canal English Literature Essay

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Claude Monet, also known as Oscar Claude Monet or Claude Oscar Monet, was born in November 14th 1840 till December 5th 1926. He was one of the founders of the French impressionist painters, and the most reliable and productive practitioner of the movement's viewpoint of expressing one's perceptions in front of nature, specifically as pertained to plain-air landscape painting. The term Impressionism can be seen in his Grand Canal, Venice, 1908.

The use of color by Monet along with his use of complicated brush strokes and masterpieces are exceptional. What make his work so individual and exclusive is the huge disparity of color placement and brush strokes techniques. An example of Monet's talents in these areas is his painting Grand Canal, Venice, 1908. The painting has a loose structure, some of which are solid in nature. The curves of light combined with the shades as well as the usage of color give the painting an effect that looks like a mirage. One can tell by looking at the painting that Monet was looking towards the buildings on the side facing the water because it's clear that the wooden poles are sticking out of the water and the buildings being reflected. It is manifested that Monet is painting quickly while observing a sunset to catch the complete effect of light during that short period of the day, especially noting that the main focus in this work of art study of light was. With the study of light, come shadows that have also played a large part in the makeup of the Grand Canal. Monet uses a varied mixture of colors like, orange, blue, pink, and purple to form the colors for the buildings by the water. He also used those colors to show the reflection of the sunlight off the sides of the buildings. It amazes me how he comes up with a nice strange color, by mixing a lot of secondary colors. For example, for the sky he uses a mixture those colors to create the dusk sentiment brought by the slow setting of the sun in the right corner of the painting. In part of the water he uses blue as well as green colors with a bit of the light purple of lavender in parts of the water to show the different stages of darkness in the water where there's no sunlight reaching from behind the buildings. In the part closer to the bottom of the painting the use of yellows, oranges and pinks was used to create a mirror-like effect to reflect the light coming from behind the buildings on the water. Thereafter it is hard to decide if the sunlight is truly striking the facade of the water or if it is only the mirror image of the sun from behind of the buildings.

Once we look at the part of the poles showing out of the water it will be easier to agree on whether the sun is hitting the water or not because of the shadow on them. We can deduce that the sun is hitting a huge part of the water because only a small part is darker than the rest. More over the rest of the poles farther away have light on them. This is why the viewer cannot really interpret what he or she is supposed to identify the work as and what its true meaning is. The actual appearance of the building is less apparent because of the brilliant ambiance of the painting making it quite comprehensible that Monet's main concern with this painting is light.

What's amazing is how he uses colors to communicate his concern for light. In this specific piece of painting, Monet uses sketch-like brush strokes to form the key objects of the sight.

The water consists of several brush strokes horizontally in uneven colors to create a reflection. The buildings are more mixed together and are less obvious mainly in the sky.

The surface above the buildings on the upper part of the canvas gets smoother as we look from a farther distance. The type of layering of the colors above each other in the water allow Monet to create the reflection he is trying to bring about in order to signify the time of day. The use of smaller brush strokes and light colors over the heavy ones and darker colors reinforces the outcome of the sunlight on the water. Monet merges the colors and uses light shades to generate the pastel, soft, late afternoon effect of the sky. He uses a more varied technique, mixing colors less than with the sky for the buildings. He follows through with the stroke and covers more space with less paint at a time, unlike those fast, thicker strokes used on the water. Monet is an intelligent painter when it comes to using several different colors as well as brush strokes to generate one specific tone of color and produce exact effects with them. For instance, from a far distance the largest pole appearing out from the water seems to be mostly brownish-bluish in color but closely it is in fact an accumulation of the colors. The most fascinating is the water. Monet uses such a huge array of colors blended to form the reflective part he is trying to represent. As we look on the canvas it looks like he has begun painting with the dark colors along the borders of the buildings toward the lower part of the canvas. The strokes look very rapid and hasty as if he was painting in a hurry.

After finishing his work with the water, Monet carries on to use layers all the way through the bottom of the canvas. He moves to green colors and continues to put layers with lighter colors working in combination with those colors used to produce the shadow and light on the buildings. The orange and pink colors begin to play a major role in representing the reflection in the upper layers of the painting. The last layers of paint also lean to be thicker than the ones before. This gives the notion that this part of the painting may have been rushed, or maybe even finished at a later time because of the fact that Monet was trying to catch the effects of light at a particular time during the day. When one looks closer on the painting it looks like the real reflection was caught at the time drawn, on the lower layers of the canvas. The more I gaze at the painting I start to believing that Monet revised his painting again and added thicker, smaller strokes of different colors in order to drawl the rest of the painting. These fussy details appear to occur only in the water part of the painting and seem to have taken uncertain time period to think about it. However, the it seems to be more than that taken by Monet to paint since the part of day he was working with didn't allow much time to think. These particular techniques seem to be most appropriate and effective for the subject.

Mainly, Monet is painting a study of light in his piece of art. The changeable brush strokes and passionately erratic usage of color magnificently brings out the light's effect in this piece. Although he is using some degree of colors he can still deal with creating a specific pitch of color with what he is using. It looks like Monet is trying to show the viewer what it's really like to observer a sunset on the Grand Canal and how the actual colors are mesmerizing. The view seems to be short of some "freshness" though as if the air was deep, in turn making the building across from him less thorough allowing Monet to concentrate on the feature of shadow in the work rather than being distracted by the building's details. We can say the same thing about the water. The soggy thick air seems to act as a prism enabling Monet to disperse the diverse colors all over the painting, though making it at the same moment known that it is water, mainly by executing the reflective techniques which he used so deeply.

I think that Monet had enthusiasm for studying light and learning more about its effects with the use of a set of different varied colors and measured this exact point of view an excellent opportunity to promote his studies. I believe he liked and benefited from exploring more about reflections on water and probably wanted to persuade others to do the same, not essentially exploring the reflections on water but to explore anything which one might have a passion for. With Monet particularly, his combination of admiring colors allowed him to gain the effect he wanted in his study on reflections, especially in the Grand Canal, Venice, 1908.

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