Monet, the Seine, the water lilies. The great river and the new century

22 October2004 – 20 March 2005 | Brescia, Museo di Santa Giulia

curated by M. Goldin

The exhibition consists of over 100 paintings and intends to mark the path that led Claude Monet, which operates over sixty paintings, by a vision of descriptive and naturalistic plant until dissolved into the matter, the light and color of the fact of nature , represented by the Seine. River, since some evidence of the sixties of the nineteenth century, is like a red thread within his work, marking very often carried out the most important and decisive, as witnessed in the exhibition by a large number of examples and masterpieces that offer visitors the chance to follow his progress towards an internalization of the image. The Seine becomes, little by little, the lens in order to understand the magnitude and evolution of the painter, to the famous series, between 1896 and 1897, dedicated to Mornings on the Seine, when the shared vision of reality is already showing within the territory of dissolution of forms, to a reality now all within. For this reason, great importance will own the final section, "The River as artifice", dedicated to the enchanted garden in Giverny. Monet comes even to divert the river to form in his mind even before that in reality, the very artifice of nature. So the water lilies, pond, Japanese bridge, will be the new transcript of what the Seine in previous decades had represented to him, with all the major changes that already in the last decade of the nineteenth century involved. Min order to make the show even more complete and historically organized, will be presented at its beginning, ten paintings by Corot and Daubigny, the painters who are, first of Impressionism, the real starting point, always on the Seine, even for Claude Monet. And a crown will be the work of Monet, through about 40 paintings, Pissarro, Renoir, Sisley and Caillebotte, painters who, despite having started their search near that of Monet, then chose different paths. This comparison will emerge some of their size, but also the final meaning of this exhibition: to understand how Monet has led to the great chapter of lilies, within the borders of a new region, now fully twentieth century. In the land that is the psychological collapse of vision and painting.