Claude
Monet, Lady in the Garden, 1867
Oil on
canvas, 80 x 99 cm
The State
Hermitage Museum, St. Petersburg
Photo © The
State Hermitage Museum. Photography: Vladimir Terebenin
|
Wassily
Kandinsky, Murnau The Garden II, 1910
Oil on
cardboard, 67 x 51 cm
Merzbacher
Kunststiftung
Photo ©
Merzbacher Kunststiftung
|
At this time,
gardening was emerging as a widespread popular pastime. The middle classes were
moving out of the cities and creating their own private Edens in the suburbs.
Gardens became an extra room where they could relax and enjoy themselves, while
artists were able to use them as outdoor studios, planting whatever inspired them to
sketch and paint. We see Camille
Pissarro’s working garden, complete with gardeners, in Kitchen Gardens at
L’Hermitage, Pontoise, and Gustave Caillebotte’s showy ‘cactus’ dahlias in
front of his greenhouse. Kandinsky's sunflowers (above) became an experiment with abstraction while Matisse's eye was caught by a rose-coloured marble garden table, surrounded by ivy (below).
Monet cultivated plants wherever he lived, selecting plants and trees by tone, shape and height, arranging them so there was colour throughout the year; one painting shows red peonies growing under a protective straw awning. “I perhaps owe it to flowers that I became a painter”, he recalled.
Renoir worked closely
with Monet, and painted him early on in his career (above) as he captured on canvas a
profusion of vast dahlia plants in a corner of his garden at Argenteuil – a work
that is also on display. Monet later
created another garden at Vétheuil, where he portrayed his young sons
surrounded by sunflowers. But his greatest creation was at Giverny, where he
first rented, then bought, a property, adding to the grounds over the
years. One room at the exhibition (below) is devoted
to his botanical books, original letters and plans that tell the story of his
application for planning permission to create his famous water garden in the
face of opposition from local farmers and villagers.
Devising and establishing the garden took
years. He kept up with the latest horticultural research and techniques by
subscribing to specialist magazines, and after 1890 employed a team of six
full-time gardeners to help him realise his vision. He saw it as his “most
beautiful work of art". In 1914 he built a bigger studio and began his huge
water lily paintings. From then until his death in 1926, he continued painting the
pond, the water, the sky and the Japanese bridge. Even the outbreak of the
First World War didn’t stop him, despite being able to hear the sound of
cannons and battle from his garden. “Yesterday I resumed work....it’s the best
way to avoid thinking of these sad times,” he wrote.
A stunning selection of these water lily paintings closes
the show. The most famous must remain in the Orangerie in Paris, where they
encircle two oval rooms, surrounding visitors with their beauty. But the final
room of the exhibition has a breathtaking surprise – an earlier version, the
Agapanthus triptych (below). These three huge paintings, each about 13 feet long, and
shimmering with colour, were created to be shown together. They stayed in his
studio until after his death, before being sold to three separate museums. This is the first time they have been reunited.
Agapanthus Triptych 1916 - 1919. (The Nelson-Atkins Museum of Art, Kansas City, The Cleveland Museum of Art, Cleveland, Saint Louis Art Museum, St Louis.) |
A film examining the role of the garden in art history, from
Impressionism to the Avant-Garde, will be in cinemas from April 12, part of the
Exhibition on Screen series. Painting the Modern Garden: Monet to Matisse features
behind-the-scenes visits to some of the gardens that inspired the artists, and interviews with artists, gardening experts and critics.
Painting the Modern Garden – Monet to Matisse is at the
Royal Academy, London until April 20 2016. Admission £17.60 with Gift Aid
(concessions available). For more information Ph 020 7300 8090 or
www.royalacademy.org.uk
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