Water lilies. American abstraction

Water lilies. American abstraction and the last Monet

Water lilies. American abstraction and the last Monet
In 1955, Alfred H. Barr brought the Museum of Modern Art in New York a large sign by Nympheas (W1992) Monet, while these large “decorations” in Giverny workshop continued to draw the interest of collectors and museums.

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Claude Monet (1840-1926), Nympheas blue, in the direction of 1916-1919 Paris, (Musée d’Orsay)

Monet is presented as “a bridge between the naturalism of early impressionism and contemporary schools of further abstraction” of New York, his Water Lilies in perspective with Pollock’s paintings, such as Autumn Rhythm (number 30), 1950. The reception of the last Monet then resonates with the entrance to the Museum of Abstract American Expressionism. At the same time, the concept of ‘abstract impressionism’ is conceived.
It is at this point in the encounter between the rediscovery of the great decorations of the captain of Giverny and the ordination of the abstract New York School that stops the exposure of the Orangery museum, through a selection of some later works by Monet and twenty large paintings by American artists such as Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, Helen Frankenthaler, Morris Louis, Philip Guston, Joan Mitchell, Mark Tobey, Sam Francis, John Paul Riopelle and Ellsworth Kelly.

Cécile Debray, chief curator, director of the Orangery Museum / Musee d’Orsay

Kind regards Pierre


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