"The gardens of Giverny were a palette prepared by Monet himself. One month it was bright yellow, saffron colored, orange, and nasturtium as all the Earth's gold shades offered themselves to his eyes. The following month, by a wave of the wand, all the blue shades rose from the ground."1
"Thanks to water, [Monet] has become the painter of what we cannot see. He addresses that invisible spiritual surface that separates light from reflection. Airy azure captive of liquid azure ... Color rises from the bottom of the water in clouds, in whirlpools."2
Asked in 1905 what colors he used, Monet said: "The point is to know how to use the colors, the choice of which is, when all's said and done, a matter of habit. Anyway, I use flake white, cadmium yellow, vermilion, deep madder, cobalt blue, emerald green, and that's all."3
References:
1. Jacques des Gachons, writing in Le National, 19 December 1926; quoted in Art of Our Century, by Jean-Louis Ferrier and Yann Le Pichon, p263
2. The French poet Paul Claude, Ibid p262.) 2. Monet by Himself, edited by Richard Kendall, Macdonald & Co Publishers, London 1989, p196.
"Thanks to water, [Monet] has become the painter of what we cannot see. He addresses that invisible spiritual surface that separates light from reflection. Airy azure captive of liquid azure ... Color rises from the bottom of the water in clouds, in whirlpools."2
Asked in 1905 what colors he used, Monet said: "The point is to know how to use the colors, the choice of which is, when all's said and done, a matter of habit. Anyway, I use flake white, cadmium yellow, vermilion, deep madder, cobalt blue, emerald green, and that's all."3
References:
1. Jacques des Gachons, writing in Le National, 19 December 1926; quoted in Art of Our Century, by Jean-Louis Ferrier and Yann Le Pichon, p263
2. The French poet Paul Claude, Ibid p262.) 2. Monet by Himself, edited by Richard Kendall, Macdonald & Co Publishers, London 1989, p196.