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Jacques Sémelin University of West Georgia, Kathy Cashen Recital Hall Carrollton, Georgia 30118

Claude Monet: The Truth of Nature

Claude Monet, Waterlilies and Japanese Bridge, 1899. Oil on canvas; 35-5/8 x 35-5/16 in (90.5 x 89.7 cm). Princeton University Art Museum: From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, y1972-15. Photo Credit: Princeton University Art Museum/Art Resource, NY.

The Denver Art Museum will soon become home to the most comprehensive U.S. exhibition of Claude Monet paintings in more than twenty years with its newest display, Claude Monet: The Truth of Nature. Featuring more than 120 paintings spanning the celebrated French impressionist artist's entire career and focusing on his relationship with nature and the various places he worked, this presentation will explore Monet’s ongoing interest in capturing the rapidly changing environments, the reflective qualities of water, and the effects of light. Additionally, the exhibition will analyze the critical shift in Monet’s painting when he began to focus on series of the same subject, including artworks from his renowned series of Haystacks, Poplars, Waterloo Bridge, and Waterlilies.

Monet traveled more extensively than any other impressionist artist as he searched for new motifs. His journeys took him to the rugged Normandy coast, the sunny Mediterranean, London, the Netherlands, and Norway, and these extensive travels inspired the artworks presented. The exhibition will uncover Monet’s continuous dialogue with nature and its places through a thematic and chronological display, from the first examples of artworks still reflective of the landscape tradition to the highly recognizable compositions and series of his later years.

Claude Monet: The Truth of Nature will also investigate the artist’s increasing abandonment of any human forms in the landscapes he created, a testament to his quest to isolate himself within nature. This immersive creative process simultaneously established an intimacy with his subject, which culminated later in Giverny, where he brought to life his own motif through meticulously planning, planting, and nurturing of his flowers and plants, which he then later translated onto the canvas.


This exhibition is organized and curated by Angelica Daneo, the DAM’s Chief Curator and curator of European art before 1900, Christoph Heinrich, Frederick and Jan Mayer Director of the DAM, and Museum Barberini Director Ortrud Westheider. Major lenders include the Musée d'Orsay, Paris; Musée Marmottan Monet, Paris; Museum of Fine Arts, Boston; The Art Institute of Chicago; and the Metropolitan Museum of Art, New York. A catalog accompanying the exhibition, and published by Prestel Publishing, will include essays by renowned scholars, including Marianne Mathieu, James Rubin, George T.M. Shackelford, Richard Thomson, and Paul Hayes Tucker, among others. The publication will be available in The Shop at the Denver Art Museum and through the online shop. Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, Denver will be the sole U.S. venue for this presentation.

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