Monet Garden At Sainte Adresse Analysis Essay

Garden at Sainte-Adresse
ArtistClaude Monet
MediumOil on canvas
LocationMetropolitan Museum of Art, New York
Dimensions38 5/8 in × 51 1/8 in
98.1 cm × 129.9 cm

The French impressionist, Claude Monet, painted The Garden at Sainte-Adresse in 1867. The artist used oil paints on canvas to create the work, which is now housed in the Metropolitan Museum of Art in New York.

The painting was one of several the artist did while on vacation in Sainte-Adresse, a resort town near the mouth of the Seine, during the summer of 1867.


The painting is an idyllic summer scene in which four people, two males and two females, are relaxing in a garden overlooking the sea. Two are standing at the garden fence, while the other two are seated. It is thought that the figures in the painting are Monet’s relatives.

The garden is in full bloom and ablaze with color from numerous flowers. It is a bright, sunny day and both women hold open parasols.

Oriental Influence

The artist was a collector of Japanese woodcut prints and other oriental art. The horizontal structure of the painting emulates the oriental style. Monet referred to the work as “the Chinese painting.”

The exhibitions are devoted to artists from the same generation: Brice Marden, who recently turned 75, and Bruce Nauman, 71.

Twenty-five early works on paper by Mr. Marden will be on view at Matthew Marks’s newly renovated space at 523 West 24th Street in Chelsea. Created between 1962 and 1981, they feature surfaces of graphite and beeswax in dense planes of blacks, whites and grays.

“Brice has been widely acknowledged as one of the greatest living draftsmen,” Mr. Marks said. “From his very first one-man show in 1966, he has consistently shown drawings alongside paintings.”

On view will be drawings lent by collectors who have owned them since they were made and that are not for sale. They include two from 1966, one lent by Dorothy Lichtenstein, Roy Lichtenstein’s widow, and the other by Robert A. M. Stern, the New York architect and dean of the Yale School of Architecture.

Mr. Nauman’s work is on view at the Sperone Westwater gallery, on the Bowery, on the Lower East Side. The exhibition, “Some Illusions: Drawings and Videos,” includes six new video installations, as well as a new series of nine silverpoint drawings.

It is rare for contemporary artists to use silverpoint, a technique more commonly associated with old masters from the 15th and 16th centuries, like Leonardo or Dürer or Raphael. Depicting hand gestures — combinations of thumbs and fingers, a theme Mr. Nauman has explored since the 1960s — the drawings are labor-intensive and richly layered. Silverpoint is only for artists who are sure of hand: Once a mark is made, it cannot be erased.

“You can get a lot of variety in the lines,” Mr. Nauman said in a telephone interview. The drawings also take on an interesting patina because the surface tarnishes, he explained, “and in a city like New York, with all the good stuff in the air, it tarnishes particularly quickly.”


On Monday, Peter Brant is opening a Julian Schnabel retrospective at his Brant Foundation Art Study Center in Greenwich, Conn., and on Tuesday night, at Christie’s, he is selling “Balloon Dog (Orange),” his monumental sculpture by Jeff Koons, which resembles a child’s party favor. Proceeds from the sale, which is expected to bring $35 million to $55 million, are being earmarked for the foundation’s endowment.

The show of Mr. Schnabel’s work includes art from Mr. Brant’s own holdings, as well as loans from high-profile collectors like the Los Angeles financier Eli Broad and the Swiss dealer Bruno Bischofberger. Mr. Brant, who has been collecting Mr. Schnabel’s work since the 1980s, said the show would be the first comprehensive Schnabel survey in the United States since a show at the Whitney Museum of American Art in 1987.

“I thought the time was right to show what a great painter Julian is,” Mr. Brant said. “In the 1980s, he was the flavor of the day, but then he went on to become a filmmaker and he lost his luster.”

Mr. Brant’s timing is impeccable. Many of the artists that were hot in the 1980s, among them David Salle, are starting to be appreciated once again.

Included in the show, on view through the end of March, will be works on paper, drawings and objects that are not as well known as his paintings. But, Mr. Brant said, the exhibition will also feature paintings, too, like Mr. Schnabel’s “Big Girl” canvases from early 2000, along with his “Wax Paintings,” “Velvet Paintings,” “Kabuki Paintings” and, of course, a selection of his signature plate paintings. There will also be large-scale sculptures and furniture.

After the show closes in Greenwich, it will travel to the University of Michigan Museum of Art in Ann Arbor this summer, Mr. Brant said.


Over the years, 550 West 21st Street in Chelsea has been a trucking garage, a nightclub and an art gallery. It was last home to Haunch of Venison, the contemporary-art gallery that Christie’s acquired in 2007 and that closed in March. (The auction house absorbed the business into its private sales department.)

Now that space will be the second New York gallery for Per Skarstedt, who already operates out of 20 East 79th Street in Manhattan, and on Old Bond Street in London. The New York architect Annabelle Selldorf designed the gallery for Haunch of Venison. She will be tweaking it for Mr. Skarstedt in time for its opening on March 7.

“I’ve been looking for gallery space in Chelsea for two years,” Mr. Skarstedt said. “I wanted some place with more flexibility, where I can show large sculptures and paintings.” He plans to open his Chelsea gallery with a show of Warhol’s “Oxidation” paintings and Yves Klein’s “Fire” paintings.

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