The longstanding way I’ve thought about Monet specifically, and Impressionist art broadly, is as a movement that sought to capture the ‘subjective experience of light and place,’ or as the movement’s name implies, the ‘impression’ of ephemeral light and color.
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Monet, or The Artist as Silver Halide Surface
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The longstanding way I’ve thought about Monet specifically, and Impressionist art broadly, is as a movement that sought to capture the ‘subjective experience of light and place,’ or as the movement’s name implies, the ‘impression’ of ephemeral light and color.