Le Grand Tout: Monet on Belle-Île and the Impulse toward Unity

  title={Le Grand Tout: Monet on Belle-{\^I}le and the Impulse toward Unity},
  author={Nina M. Athanassoglou-Kallmyer},
  journal={The Art Bulletin},
  pages={323 - 341}
Claude Monet's thirty-eight paintings of Belle-Île's western coast (1886) were hailed by critics as signaling a groundbreaking shift whose serial conception, abstracted aesthetic, and “savage” tenor transcended Impressionist naturalism, announcing a new, antimodernist, and primitivizing manner. The period's evolving pantheistic and proto-phenomenological ontologies awash in notions of “wholeness” and “universality,” and the painter's friendship, initiated on Belle-Île, with the critic Gustave… 
2 Citations

William C. Seitz and the Experience of Impressionism

  • A. Clark
  • Art
    Archives of American Art Journal
  • 2022
With Claude Monet: Seasons and Moments (1960), art historian William C. Seitz presented a new curatorial vision of Claude Monet’s late impressionist paintings. The exhibition, mounted at the Museum

Monet in the 1880s



Reminiscences of Claude Monet from 1889 to 1909

Conversations with the artist are reported with attention to his working methods and attitudes. He had long flexible brushes made to order for his own use. The artist also compares two of his own

Taine lecteur de Spinoza

L'Academie francaise avait propose au concours de 1854, puis de 1855, le sujet : « Etude critique et oratoire sur le genie de TiteLive ». Apres l'avoir fait patienter un an, pour permettre la

Centenaire de l’ exposition de 1889, exh

  • cat.
  • 1989

70: "l'id ee que chaqueêtre, en apparence distinct des autres, appartient a un grandêtre indivisible

    The painting is no. 1096, Bloc de rochers a Port Goulphar, in Daniel Wildenstein, The Triumph of Impressionism: Claude Monet

    • Biography and Catalogue Raisonn e

    A Memoir with Conversations, trans

    • Christopher Pemberton
    • 1991