Linnea in Monets Garden by Christina BjörkChristina Björks Linnea in Monets Garden (which was originally published in Sweden in 1985 under the title of Linnea i Målarens Trädgård, with the English language translation penned in 1987 by Joan Sandin) has been on my to-read list for almost a decade, and I am happy to say that I have now remedied this shortcoming, that I have both read and yes indeed also very much enjoyed Linnea in Monets Garden (although truth be told, I do very much wish that I were fluent in Swedish and could thus tackle Linnea in Monets Garden in the original, or better yet, that a dual language English/Swedish edition of Linnea i Målarens Trädgård were available).
And yes, I very much do appreciate the smooth combination (the back and forth) of fiction and non-fiction in Linnea in Monets Garden (and am actually rather surprised to have discovered quite a bit of hitherto personally unknown to me details and information regarding French Impressionist painter Claude Monets life as an artist, including that for the 19th century, Monet definitely lived not only rather unconventionally, but also in a relationship with more than one woman simultaneously and in the same house). With Linneas first person narrative voice shining brightly and sweetly in the fiction sections of Linnea in Monets Garden, one can really emotionally feel and broadly smile at her effervescent joy of discovery and her constant delight as she and her elderly neighbour Mr. Bloom (who is a retired gardener) visit France to follow and explore both Claude Monets art and his life. And while I do know and realise that there are in fact sone readers who seem to find it strange and even potentially problematic that a young girl like Linnea is allowed to travel to France without her family and even share a hotel room with an elderly gentleman who is not of her immediate family, frankly and in my opinion, there is absolutely nothing even remotely bordering on inappropriateness with and in Christina Björks and by extension also translator Joan Landins texts (since the joyful and engaging first person narration of Linnea in Monets Garden really does demonstrate that Linneas relationship with Mr. Bloom is comparable to a grandfather and granddaughter scenario, sweet, encouraging and with Mr. Bloom always acting like a treasured, understanding friend as well as a teacher). Now as to Lena Andersons accompanying illustrations, they are bright, descriptive and totally capture not only Linneas joy and and delightfully bubbly personality, they also present a glowing visual homage to France and to Monets garden in Giverny (as well as depicting Mr. Bloom as being in all ways a kindly and grandfatherly soul whom I personally would definitely have wanted as a friend when I was Linneas age). With the many reproductions of Claude Monets signature impressionistic artwork (as well as the additional information on French and in particular Parisian museums either specialising in Claude Monet or showing the art of French Impressionism, not to mention the suggestions for additional fun and educational things to do if one visits Paris) being appreciated added bonuses, I easily and happily grant a full five stars to Linnea in Monets Garden (and this even though I personally do wish that the short bibliographical list contained more than just five books, since well, at least Christina Björk has actually included a bibliography in Linnea in Monets Garden and that indeed, all of the included tomes on Claude Monets life and art do look very thorough and academically appealing to and for me).
Camille Monet and a Child in the Artist’s Garden in Argenteuil
Monet rejected the traditional approach to landscape painting and instead of copying old masters he had been learning from his friends and the nature itself. Monet observed variations of color and light caused by the daily or seasonal changes. Claude Monet was born on November 14, on the fifth floor of 45 rue Laffitte,in the ninth arrondissement of Paris. On the first of April , Monet entered the Le Havre secondary school of the arts. He became known locally for this charcoal caricatures, which he would sell for ten to twenty francs.
During Monet's lifetime there was a huge circle of artists and writers who shared and nurtured a bohemion culture. New ground was being broken in art and literature and there was an atmosphere of new ideas and theories, many of which were aired at the Cafe Guerbois in Paris, It was here that Monet was exposed to a wide range of work by many of artists. Early influences on him were the works of Boudin and Jongkind, the Barbizon school of landscope artists, especially Doubigny, Corot and Millet, the Realist Gustave Courbet and the colours of Eugene Delacroix. These artists frequently painted together, and influenced the development of each other's work, with many similarities seen between the early work of Renoir and Monet. During the s Monet was working from Argenteuil and produced a series of paintings of Camille in garden settings. These beautiful pictures full of golden light and blooming flowers were charming representations of the bourgeoisie at leisure, painted to sell to this market. All Rights Reserved.
See More by ArtWall. Showing of 26 reviews. Add iconic artistry to your living room or foyer with this art print reproduction of Claude Monet's "Camille Monet and a Child in the Artist's Garden in Argenteuil ". Fade-resistant archival inks guarantee perfect colour reproduction that remains vibrant for decades even when exposed to strong light. Add brilliance in colour and exceptional detail to your space with the contemporary and uncompromising style of East Urban Home. Ready to be displayed right out of the box, including free hanging accessories, instructions for a quick and easy hanging process that achieves the best positioning results. Shrink-resistant wooden-bar frame with tensioning wedges that allow for tightening of the canvas from the reverse side.
The Impressionist work depicts his wife Camille Monet and their son Jean Monet in the period from to while they were living in Argenteuil , capturing a moment on a stroll on a windy summer's day. Monet's light, spontaneous brushwork creates splashes of colour. Mrs Monet's veil is blown by the wind, as is her billowing white dress; the waving grass of the meadow is echoed by the green underside of her parasol. She is seen as if from below, with a strong upward perspective, against fluffy white clouds in an azure sky. A boy, the Monets' seven-year-old son, is placed further away, concealed behind a rise in the ground and visible only from the waist up, creating a sense of depth. The work is a genre painting of an everyday family scene, not a formal portrait.
Camille, Monet's first wife, is shown with a child in the garden of their house in Argenteuil, near Paris, where they lived between and Today, Claude Monet is primarily known as a landscape painter, but in the beginning of his artistic career, he used to concentrate on portraits. No one else appeares in Monet's paintings as often as Camille. In those year, portraits of women were mostly ordered by bourgeois clients, but among progressive painters, the artistic structure became more important than the identity of the portrayed person. The masterly style, the lack of details, and the plainness of the colours led to a completely new directness of expression, independent of the facial gestures of the depicted person. In this picture, the shimmering reds, blues, greens, and white that capture the brilliance of a sun-drenched day are applied with many small brushstrokes, whose varied shapes create the different textures of flowers, grass, and clothing. Meanwhile, the features of the woman are completely indistinct.