National Gallery of
Australia, Canberra 9 March 11 June 2001;
Art Gallery of Western Australia, Perth 7 July 16 September
The works of art that have been assembled for Monet & Japan are truly
remarkable, and the subject of the exhibition is one that has never, until
now, been explored in such depth or with such discerning intelligence. Here,
carefully chosen works of Japanese art give us the context for exploring
Monet's changing perception of Japan through masterpiece after masterpiece.
Surely this will be the exhibition's great contribution - to give everyone
who loves Monet's paintings a chance to understand the ways in which he absorbed
the lessons of Japanese art, from his first encounter in the 1860s until
the final years after the First World War.
George T.M. Shackelford
Chair, Art of Europe Museum of Fine Arts, Boston
Hodogaya on the Tokaido Road (Detail)
[Tokaido Hodogaya] c.1834 from the series Thirty-six views of Mt Fuji c.1830-5
Allen Memorial Art Museum, Oberlin
39 of Monets best paintings from the worlds greatest collections,
alongside an extensive selection of Japanese prints and paintings, vividly
demonstrate Monets intimate relationship with Japanese art.
Week days from 9.30am to 5pm;
Saturday 9.30am to 8pm; Sunday 9am to 5pm.
Last admission is one hour before closing time.
Includes same-day re-entry: Adults $18; Members, groups and concessions $12;
Family $50; Members family $35; Booked school groups $5 (per student).
Tickets are available online through the Gallery shop, or phone 1800 808
337 (freecall) 8:30am 3:30pm Monday-Friday. All major credit cards
For group bookings (including school groups) phone +61 2 6240 6519.
National Gallery of Australia
Parkes Place, Canberra
For visitor information phone +61 2 6240 6502
|Look at that flower with its petals
turned back in the wind, is that not truth itself?
and here, next
to this woman by Hokusai, look at this bathing scene: look at these bodies,
can you not feel their firmness. They are made of flesh and bone yet are
described only by their outline. What we appreciated above all in the West
was the bold fashion of defining their subjects. Those people have taught
us to compose differently there's no doubt about that.
Claude Monet to the Duc de Trévise 1920
The exhibition consists of four sections where Monet's
paintings are hung in proximity to related Japanese works of art. The
first section looks at Monet's use of 19th-century Japanese art to express
modern experience of the city and the suburban countryside. The second explores
the period when Monet moved away from Paris to
It shows that Monet was influenced not only by Japanese prints, but also
by calligraphy and Japanese ink painting. The third section contains paintings
of his garden and the meadows and rivers around
Giverny. The final section suggests
that Japanese screen paintings helped Monet to attain profundity in his great
series of his waterlily pool at Giverny.