Monet, On the Bank of the Seine, Bennecourt
Description
Vocal Characteristics
Language
EnglishVoice Age
Middle Aged (35-54)Accents
North American (General)Transcript
Note: Transcripts are generated using speech recognition software and may contain errors.
on the bank of the Seine Bennack, or 18 68 on the Bank of the Seine. Bennack, or is the only surviving work from Mona stay there in spring 18 68 with his future wife, Commie Dentsu, and their Baby John. Areas of the painting surface have generated much debate moans. Compositional adjustments are visible to the naked eye but difficult to interpret in the water. To the right of commie, there appears to have been another figure. Instead of scraping or blocking out this figure, Monet painted directly on top of it. His brushwork is loose and rough, leaving glimpses of peach skin tones, the figures head and body outlined with thick lead. White rich brushstrokes are clear in an X ray, but details of their pose and dress remain indistinct. The artist roughly painted over the upper part of the figure while he incorporated some of the white brush strokes in the lower area into the final work. Some think the white for maybe a dog similar toe, one that appears in another portrait of Commie or the couple's infant son, John. Both the painted out figure and the final figure of Commie were laid on top of the landscape, the dried brush strokes of the buildings. Reflections are visible underneath. Commies head the water, Grass and foliage peek through the open brushwork of her clothing. The bright blue paint of the water next to Comey shows through the stripes of her dress, while green and yellow paint from the grass and flowers is exposed through the sketchy brushwork of her skirt. We now know that Monet revised and reworked this personal scene. Why he made these enigmatic changes visible on the surface and through advanced imaging technology, remains open to interpretation.