Monet, Rouen Cathedral Series발음듣기
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Monet, Rouen Cathedral Series
34문장
100% 한국어
번역 4명 참여
출처 : 칸아카데미
Monet, Rouen Cathedral Series
We are at the Musée d'Orsay and we're looking at four of over thirty canvases that Monet made of Rouen Cathedral, which is a little more than an hour drive north of Paris.
Over two late winters and early springs of 1982 and 1893 he rented a space across from the Cathedral and painted the Cathedral in different effects of light.
And so what he did was he had several canvases going at once - each for a different moment of the day and different effect of light.
Well, that makes sense.
If Monet is trying to define this ephemeral quality of light, then as the Sun moves, he would need to change canvases - he can't paint that fast.
And then he would come back to it, day after day.
But in the also different weather effects and having this temporary studio across the street allowed him to paint the rain early in the morning, etc.
And then, I think, he brought them all back to Paris and finished them in the studios.
They are really heavily raught and there's a lot of paint on this canvases, and so this is not something that was done quickly.
Monet was always interested in capturing the fleeting effects of something that he saw, but here it's become the exact subject of the painting.
The irony is that as he's capturing something that's fleeting, he takes longer and longer to paint it and to finish it, not outside, but to finish it in the studio.
This is another irony here, which is - if the subject is really about light and the way light constructs form, and I think that really is the subject,
he's picked a pretty thing to render it on, that is the Cathedral,
which is all its religious connotations its historical connotations and is solid in the extreme and yet, in a rendering by Monet, there are not such solid forms.
No. They really appear very light, almost filigree forms, they've lack a sense of heavy three-dimensionality.
The subject of a Gothic cathedral is divine light itself.
So, why would he be interested in a just formal sense of a gothic cathedral And I always thought that it had to do with enormous complexity of the surface.
There's not doubt that it's the complexity of light and shadow on the facade of a cathedral like Rouen Cathedral, that was appealing to him.
But I don't think it's simply because the gothic church has a fabulous facade.
I mean, he's choosing something very identified with France, the gothic style... there feels for me like there's something nationalistic here, there feels to me like there's something poignant here.
I mean, let's face it.
You know, we've had Darvin, and things are really different in late 19-th century.
This is taking that grand history, taking all of the power of this function symbolically and, in a sense, understanding them through the lands of the late 19-th century.
I think so.
They're meant to be seen together, and he exhibited them together and not that he ever exhibited them all together, but they are certainly meant to be seen at least in groups.
And they're really beautiful.
And one really does get that sense of optical effects of different times of day - the morning mist, the sun coming out, the heat of the afternoon sun...
What happens to my eyes as I move across the canvases is different parts of the Cathedral protrude and recedes in different ways in different light.
And in a sense the physical stone itself becomes really this mutable experience in that the building is shaped and reshaped by the way the light hits it.
Right. And that the very architecture is transformed, and in a sense it is a triumph of the optical over the physical.
Which is something very different than the Gothic architects would have thought about the church, because what could be seen was really a symbol for what couldn't be seen,
and in a way, what Monet seems to be telling us here in the end of the nineteenth century is what we see is what there is.
That there is truth to our experiential. (jazz piano riffs)
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We are at the Musée d'Orsay and we're looking at four of over thirty canvases that Monet made of Rouen Cathedral, which is a little more than an hour drive north of Paris.발음듣기
대기중
Over two late winters and early springs of 1982 and 1893 he rented a space across from the Cathedral and painted the Cathedral in different effects of light.발음듣기
대기중
And so what he did was he had several canvases going at once - each for a different moment of the day and different effect of light.발음듣기
대기중
If Monet is trying to define this ephemeral quality of light, then as the Sun moves, he would need to change canvases - he can't paint that fast.발음듣기
대기중
But in the also different weather effects and having this temporary studio across the street allowed him to paint the rain early in the morning, etc.발음듣기
대기중
They are really heavily raught and there's a lot of paint on this canvases, and so this is not something that was done quickly.발음듣기
대기중
Monet was always interested in capturing the fleeting effects of something that he saw, but here it's become the exact subject of the painting.발음듣기
대기중
The irony is that as he's capturing something that's fleeting, he takes longer and longer to paint it and to finish it, not outside, but to finish it in the studio.발음듣기
대기중
This is another irony here, which is - if the subject is really about light and the way light constructs form, and I think that really is the subject,발음듣기
대기중
which is all its religious connotations its historical connotations and is solid in the extreme and yet, in a rendering by Monet, there are not such solid forms.발음듣기
대기중
No. They really appear very light, almost filigree forms, they've lack a sense of heavy three-dimensionality.발음듣기
대기중
So, why would he be interested in a just formal sense of a gothic cathedral And I always thought that it had to do with enormous complexity of the surface.발음듣기
대기중
There's not doubt that it's the complexity of light and shadow on the facade of a cathedral like Rouen Cathedral, that was appealing to him.발음듣기
대기중
I mean, he's choosing something very identified with France, the gothic style... there feels for me like there's something nationalistic here, there feels to me like there's something poignant here.발음듣기
대기중
This is taking that grand history, taking all of the power of this function symbolically and, in a sense, understanding them through the lands of the late 19-th century.발음듣기
대기중
They're meant to be seen together, and he exhibited them together and not that he ever exhibited them all together, but they are certainly meant to be seen at least in groups.발음듣기
대기중
And one really does get that sense of optical effects of different times of day - the morning mist, the sun coming out, the heat of the afternoon sun...발음듣기
대기중
What happens to my eyes as I move across the canvases is different parts of the Cathedral protrude and recedes in different ways in different light.발음듣기
대기중
And in a sense the physical stone itself becomes really this mutable experience in that the building is shaped and reshaped by the way the light hits it.발음듣기
대기중
Right. And that the very architecture is transformed, and in a sense it is a triumph of the optical over the physical.발음듣기
대기중
Which is something very different than the Gothic architects would have thought about the church, because what could be seen was really a symbol for what couldn't be seen, 발음듣기
대기중
and in a way, what Monet seems to be telling us here in the end of the nineteenth century is what we see is what there is.발음듣기
대기중
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