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    Wisteria is one of Monet's most expressive paintings. The flower clusters have been reduced to a tangle of lavish purple and blue brushstrokes. For Monet, recognisability of the subject was no longer a starting point. In his depictions of Giverny, he slowly but surely let go of the distinction between sky, water and clouds. He avoided any form of depth and used an increasingly looser brushstroke. Wisteria also confuses you. Do we see the flowers against a blue sky or are we looking at a reflection in the water?

Wisteria is one of Monet's most expressive paintings. The flower clusters have been reduced to a tangle of lavish purple and blue brushstrokes. For Monet, recognisability of the subject was no longer a starting point. In his depictions of Giverny, he slowly but surely let go of the distinction between sky, water and clouds. He avoided any form of depth and used an increasingly looser brushstroke. Wisteria also confuses you. Do we see the flowers against a blue sky or are we looking at a reflection in the water?

Notebook Monet- Wisteria

With a silky soft cover with gold text and Monet's Wisteria, this notebook has four quoted cards inside to send and a pocket for loose papers. We like it handy and beautiful. 13.5 x 18.5 x 1.5 cm
Notebook Monet- Wisteria
Notebook Monet- Wisteria €19,95
€19,95
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14 days to change your mind

    Wisteria is one of Monet's most expressive paintings. The flower clusters have been reduced to a tangle of lavish purple and blue brushstrokes. For Monet, recognisability of the subject was no longer a starting point. In his depictions of Giverny, he slowly but surely let go of the distinction between sky, water and clouds. He avoided any form of depth and used an increasingly looser brushstroke. Wisteria also confuses you. Do we see the flowers against a blue sky or are we looking at a reflection in the water?

Wisteria is one of Monet's most expressive paintings. The flower clusters have been reduced to a tangle of lavish purple and blue brushstrokes. For Monet, recognisability of the subject was no longer a starting point. In his depictions of Giverny, he slowly but surely let go of the distinction between sky, water and clouds. He avoided any form of depth and used an increasingly looser brushstroke. Wisteria also confuses you. Do we see the flowers against a blue sky or are we looking at a reflection in the water?

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