EMULATION AND REPETITION IN 19TH CENTURY ART
 

...intricate palette accompanied by varying, short, choppy brush strokes shown in Fig. 5 adds an element of vigor to the painting, inspiring excitement in the viewer. In John House’s book, Monet Nature into Art, he talks about the effect of the complex color scheme that the Grain Stack paintings have on the viewer. “The color schemes of these pictures are so subtly interwoven that the viewer can suspend disbelief at the actual colors used, and can see the pictures as a recreation of experience” (House 1986, 128). The bright pinks and reds dancing along the edge of the Grain Stack not only express the presence of light but also give the Grain Stack a pulse during the harshest time of year.

Moreover, the placement of the Grain Stack in Grainstacks in the Morning, Snow Effect  (1891, Museum of Fine Arts Boston) (Fig. 1) exploits the point of the view of the viewer placing him or her into the canvas. Monet’s ephemeral effects become more believable to the viewer when he or she can “step into the canvas” (Claude Monet: a Ttribute to Daniel Wildenstein and Katia Granoff 2007, 76). The strategic placement of the horizon line is slightly below eyelevel, giving the visual illusion that the viewer is standing in the canvas. The grain stack is very balanced and anchored in it’s position with a short and stout form. Additionally, there is an even amount of space above and below the grain stack, adding another element of balance. This allows the viewer to have a visual conversation with the Grain Stack; it is very personal and approachable and it is not grandiose or too magnificent. These compositional techniques are used throughout Monet’s entire series, giving a balanced unity to the body of works.

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Figure 1. Figure 2. Figure 3. Figure 4.
Figure 5. Figure 6. Figure 7.
Claude Monet Grainstacks in the Morning, Snow Effect 1891. (Detail of left hand side of grain stack.)