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Throughout his life Monet painted one of his favorite motifs, the landscapes of the sea and sky of his home region of Normandy. This subject can be said to have been bequeathed to Monet by his teacher Boudin. Yet while the numerous works that remain by Boudin focus on genre elements, Monet was interested in the landscape itself. As opposed to the techniques used in the majority of his other landscapes, Monet employed a rhythmic blending of rough brush strokes and a very light layering of pigment in this work created in a small fisherman's hut by the beach. The brushwork is very slight on the light sparkles of the calm surface of the sea and thickens and becomes more agitated as the artist depicts an instant impression of peaking waves and scudding clouds. While quite distant from the brushwork roots of the original Impressionism, the free brushwork found in Monet's final works is prefigured here. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no.75)

Details

  • Title: Heavy Sea at Pourville
  • Date Created: 1897
  • Location Created: France
  • Signatures, Inscriptions, and Markings: Signed and dated lower left: Claude Monet 97
  • Provenance: Kojiro Matsukata, c. 1924; Sequestered by the French Government, 1944; Returned to Japan, 1959.
  • Physical Dimensions: w1010 x h735 mm
  • Painter: Claude Monet
  • Object title (Japanese): 波立つプールヴィルの海
  • Object notes (Japanese): モネが生涯を通じて愛したモティーフの一つに、故郷ノルマンディー地方の海と空が形づくる景色がある。これは最初の師ブーダン譲りのモティーフとも言えようが、風俗画的要素を多分に残すブーダンに対して、モネの関心はむしろ風景自体にあった。浜辺の漁師小屋から描かれたこの作品において用いられた手法は、彼の他の多くの風景画と異なり、リズミカルな粗い筆触の交錯であり、塗りは非常に薄い。静かな海面に光線がきらきらと輝くとき、モネの塗りは極めて緻密であり、また厚くなるが、ここでは波立つ海とあわただしく走る雲の瞬間的印象を把握すべく、筆触も激しくなっているのであろう。モネの晩年の作品に見られる自由な手法、本来の印象主義の筆触の系列からかなり隔たった手法が、すでにここに予告されていると見ることもできよう。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 75)
  • Artist Name (Japanese): モネ、クロード
  • Type: Paintings
  • Rights: Matsukata Collection, http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Oil on canvas

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