In spring of 1876, Claude Oscar Monet concluded three paintings of the Parc Monceau, in Paris, changing his viewpoint in each painting. This particular artwork entitled The Parc Monceau Paris was exhibited in the 1876 art show organized by the Impressionists. The painter later concluded three more different depictions of the Parisian park, in 1878. While analyzing these two group of paintings from different periods in time, there is a visible change in Monet’s technique. There is a transformation in his portrayal of dimension, something that later in his career will be enhanced.
As one of the main members of the Impressionist movement, Monet painted mostly en plein air, meaning he painted outside. His passion for the portrayal of the fleeting optical effects of sunlight on a landscape is visible on his vast production of paintings. Although, on many occasions, Monet would give the finishing touches to a canvas in his studio – causing much criticism by the other modern painters. Monet’s love for nature extended as he collected Japanese woodcut prints. These exotic artworks were colorful and had a different sense of perspective and composition than the Europeans were accustomed to – which inspired the Impressionists greatly – in themes of nature and the daily life.
In the oil painting The Parc Monceau Paris, Monet portrays a sunny and vibrant landscape with natural colors. The forefront shows an area of grass protected by the shades of the tall trees. The sun shines through the leaves, leaving small areas of yellow light on the field. A small bush with pink flowers also is in the refreshing cool shade. Although this shrubbery is in the forefront, it is almost invisible, as the viewer's eyes go directly to the large and round flowered tree. This tree grabs the spectator’s immediate attention for it is soaked in golden sunlight.
Monet strived to capture the beautiful colors and sensations of the sunlight upon nature, and this painting is an exquisite example of this. The background depicts many tall trees with different shapes, sizes, and tonalities of green. Some small and simplistic brush strokes in the far distance suggest a group of people riding on brown and white horses. On the left side of the painting, and behind the colorful vegetation, Monet peaks a sight of a beautiful tall house.
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