The Grand Summer Exhibition, offered each year by the Grimaldi Forum, is approaching and it will lead us to rediscover a great master of French Impressionism, traditionally considered as the patron of this evocative pictorial movement that marked the late years of 1800's. "Claude Monet en pleine lunmière" (Claude Monet in full light) will be held from he 8th July until the 30th September 2023, under the guidance of Marianne Mathieu, expert and curator of the exhibition. In close partnership with Musée Marmottan Monet in Paris, the collection is focused on Monet's stays on the Riviera marking a crucial point in his life.
The art show will unveil an unprecedented overview of the painter matching together a selection of masterpieces coming from worldwide and usually exposed in different locations. Following the chronological path of Monet's art production, visitors will be guided into a in-depth full immersion where to discover some details of the painter's life within an amazing creative setting throughout the exhibit space (note: 2,500 m2).
Discovering the light of the Riviera.
At some point in his life, Monet felt a desperate need to be inspired. We are in 1883 and he had recently moved to live in Giverny (Normandy). Here, the artist decided to embark on his first journey to the Principality and the surrounding Riviera, together with his friend, Pierre-August Renoir. Then, he came back alone in 1884 and in 1888 with only one goal: to capture on canvas the light of the South France. Going to and through Monte-Carlo, Roquebrune, Bordighera (Italian Riviera) and Antibes, his art evolved into new shades of colour in the processing of exotic landscapes. During his last visit, he unveiled his novel production at Salis beach (Antibes), with great success.
Marianne Mathieu, Exhibition Curator and Scientific Director of the Marmottan Museum, invites visitors to change their point of view about Monet's impressionism, pointing out: « Monet's art production is of great coherence, from his Havraise youth to the last paintings of Giverny, (...) Monet does not paint a landscape but an atmosphere. On the Riviera, (...) in his maturity, Monet discovers himself as the painter of the series. At Giverny, which he left almost at the turn of the century, the painter again evolved, changed his point of view, focusing only on the mirror of water. Monet abandons then the panoramic views in favour of a narrow framing offering a quasi-abstract vision of the water and its reflections. He does not paint his garden but the only elements that are water and light. He paints the image of a floating world ».
Claude Monet, pioneer of "climate-change activism".
According to a recent research study, Monet has been a privileged witness to the evolution of pollution and climate impact while staying in London from 1899 until the 1901 (Paintings by Turner and Monet depict trends in 19th century air pollution Anna Lea Albrighta and Peter Huybersb Edited by William Clark, Harvard University, Cambridge December 20th, 2022). His detailed art production, with over 100 paintings, offered a detailed picture of smoke polluting concentrations on the British capital. In full industrial revolution, steam engines of boats and trains generated a constant 'mist' clearly depicted by the paramount artist in his haze-like art impressions. His progressive change in the style of painting was noticed within a targeted study by Anna Lea Albright, a postdoctoral researcher for Le Laboratoire de Météorologie Dynamique at Sorbonne University in Paris. In particular, she focused on a set of masterpieces by some of the most popular painters like Turner, Whistler and Monet himself hosted by the Tate Gallery in London and Musée d'Orsay in Paris. To a careful observation, the outlines of the painted landscapes gradually fade, tending to give impressions of what was originally figurative art. The influence on light by polluted skies seems to be one of the causes of this "pictorial change".
Comparing the art outcome with estimations of air pollution at that time registering high concentrations of chemicals, notably sulfur dioxide emissions, the connection between the two values was impressive.
With special regard to Turner and Monet, their pictorial choice was most likely aware considering their fondness in scientific matters including ante litteram climate change issues. That was clear after analysing a series of letters found, where they were in a sense 'attracted' by the skies clouded by smoke, almost transforming a negative externality in pure pictorial inspiration. The study followed the footsteps of professor Jonathan Ribner, specialised in European art at Boston University, who started enhancing the interaction between the 19th century polluted atmospheric conditions and the two artists production, by drafting an essay for a traveling exhibition held in 2004, entitled "Turner Whistler Monet". ***
------------------------------------------------------------------------------- To know more about the Grand Summer Exhibition and book please visit: www.montecarloticket.com email: ticket@grimaldiforum.com/ +377 99 99 3000
🆒 Until the 30th June 2023: Special pre-sale €7 instead of €14
🆓 Free entry for under 18.
🟩 Reduced entrance ticket to 11€ for TER (French Regional Trains) customers on presentation of a TER ticket from the SOUTH region dated the same day of your visit.
🚄 Special Private Tours, Public Guided Tours and Breakfast + Guided Tour initiative (Les Matins Monet).
🎧 Audio guide available.
Main sponsors: Gouvernement Princier - CMB Monaco - Sotheby's - Marzocco.
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By Maurice Abbati
👇 "Communicating the Environment to Save the Planet, a Journey into Eco-Communication" by M. Abbati
Springer International Publishing
