By Jacob Bean
The amassing of drawings was once lengthy the province of artists themselves. The Florentine Vasari shaped one of many first vast and systematic collections of drawings, and his instance used to be by means of Rembrandt, Rubens, Lely, Reynolds, and Lawrence. nice eu museums—the Uffizi, the Louvre, the Berlin Museum, and the British Museum—have outdated and significant collections of drawings. In the US public curiosity in drawings is a reasonably contemporary improvement our public collections have brief histories. That of the Metropolitan Museum is likely one of the oldest within the kingdom, and this can be as a result of foresight of Cornelius Vanderbilt.
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As the forlorn Sisley had; in fact, he in the '70s, when in of the 1 88os, France to study Neither had he sequestered himself and become endlessly repetitive had been enormously productive during the decade. ^ Aloof and self-absorbed, he never gave up on Impressionism. In 1880, he had become disillusioned Monet and the Challenges to Impressionism 17 with the exhibition practices of the group and had returned to the Salon. Motivated to broaden his market, particularly through private dealers, tional arena because he also felt to "our Gauguin at Degas and Pissarro, who had he asserted, "I am still an Impressionist and Unlike his former colleagues, in back into the Monet tradi- invited artists like Raffaelli to participate in the fourth Impressionist exhibition in 1879.
By mid-decade, when the Impressionists went their sepa- ways and Seurat assumed his position of prominence, such writers began to emphasize these bio- graphical "facts," underscoring not only Monet's seriousness but also his heartfelt art and the extent wind and to rain that which he would go Monet would brave steadfast in front of his motif, all commitment to his to achieve his ends. '^ Although these stories were for the most part true, no one ever disclosed their real ending difficult — that Monet was under the conditions of the particular location but in the calm of his Giverny studio.
This haunting, deeply introspective picture, executed at the same time as his paintings of the death to take stock of himself to test his former answers and to see his followers, particu- how many new ones his Impressionist style might offer. After completing these canvases, 18 80s sites (fig. 12). Monet traveled to Belle Nothing could have been further from the sunlight or the introspection of his self-portrait. and its tranquil Bee du Hoc (fig. Impressionist show. But that exponent of modernism and Even the on the fact that own 13), was And no site paint the most dramatic of gentility of the figures could have been further precisely the point.