书名：Monet or the Triumph of Impressionism/莫奈或印象派的胜利油画艺术作品

作者：Daniel Wildenstein

出版：TASCHEN，2014

装帧：精装，616页

语种：英语

尺寸：14 x 19.5 cm

除了J. M. W. 特纳之外，没有其他艺术家能像克劳德·莫奈（1840–1926）那样，如此竭力地在画布上捕捉光线本身。在所有印象派画家当中，塞尚称其“只是一只眼睛，但天哪，那是一只多么厉害的眼睛！”——正是这位画家坚守着绝对忠实于视觉感受的原则，直接对着实物作画。

可以说，莫奈重塑了色彩的可能性。无论是源于他早期对日本版画的兴趣、在阿尔及利亚耀眼阳光下服兵役的经历，还是与19世纪晚期主要画家的私交，莫奈在其漫长一生中创作的作品，都永远改变了我们看待自然世界及其伴随现象的方式。他探索的巅峰之作是晚期的睡莲系列，这些画作创作于他在吉维尼的自家花园。其风格近乎完全摒弃具象形态，堪称抽象艺术的源头。

这本传记充分展现了这位卓越且极具深远影响力的艺术家的风采，书中配有大量复制品和档案照片，以及详尽且富有洞察力的评论。

No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.

It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.

This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.