Claude Monet, Free Thinker : Radical Republicanism, Darwin's Science, and the Evolution of Impressionist Aesthetics
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Book Details
Format
Hardback or Cased Book
Book Series
American University Studies
ISBN-10
1433130807
ISBN-13
9781433130809
Edition
New
Publisher
Peter Lang Publishing Inc
Imprint
Peter Lang Publishing Inc
Country of Manufacture
US
Country of Publication
GB
Publication Date
Sep 30th, 2015
Print length
175 Pages
Weight
372 grams
Dimensions
15.60 x 23.00 x 1.60 cms
Product Classification:
France19th century, c 1800 to c 189920th century, c 1900 to c 199921st century, c 2000 to c 2100Arts and CraftsThe arts: general issuesThe arts: general topicsHistory of art & design styles: c 1800 to c 1900History of artModern history to 20th century: c 1700 to c 1900History
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This revolutionary interdisciplinary study argues that Monet’s artistic practices and choices were the direct result of his political stance as a nineteenth-century libre penseur, a position characterized by radical republicanism, a progressive social agenda, and fierce anticlericalism.
This revolutionary interdisciplinary study argues that Monet’s artistic practices and choices were the direct result of his political stance as a nineteenth-century libre penseur, a position characterized by radical republicanism, a progressive social agenda, and fierce anticlericalism. His efforts to create a style reflecting his personal political code led him to produce paintings proclaimed by like-minded free thinkers as «a science being constantly perfected» (Gustave Geffroy), that is, emphasizing only observable phenomena in the immediate present through scrupulous, insistent on-site observation, capturing the raw data of sensations and sensory experience, and purporting to record a world free of embedded meaning. Darwin’s world similarly comes with no prepackaged reassurance of humankind’s privileged place in it; it is instead a space in which all varieties of organisms and species compete for limited resources in a struggle for survival. The Darwinian model of nature appears to have influenced Monet’s artistic production increasingly as his style evolved over several decades. In opposition to post-Renaissance art that privileged the human presence in both representation and the viewing act, Monet’s later paintings create a sense of virtual and visual equality among all observable phenomena. The human – and the viewer, by extension – is thus represented as neither separate from nature as a disengaged observer nor superior to it but rather co-equal with all other organic life forms surrounding it. This approach, while echoing Darwin’s admiration of nature and its laws, also reminds humankind of its own fragility and the hard choices it must make to avoid extinction.
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