Podcast Summary: In Our Time – "Monet in England"

Podcast Information:

• Title: In Our Time
• Host: Melvyn Bragg (BBC Radio 4)
• Episode: Monet in England
• Release Date: July 25, 2024
• Description: Melvyn Bragg and guests discuss the ideas, people, and events that have shaped our world.

Introduction

In this episode of In Our Time, host Melvyn Bragg delves into the intriguing period of Claude Monet's life spent in England. With expert guests Karen Ser, Francis Fowle, and Jackie Wolschlager, the discussion explores Monet's artistic evolution, his fascination with London's atmospheric conditions, and the lasting impact of his "Thames" series.

Monet’s Early Life and Move to London

Jackie Wolschlager begins by tracing Monet's formative years:

Jackie Wolschlager [02:00]: "He moved as a child to Le Havre and that was absolutely decisive. It gave him, first of all, a lifelong love of the sea and of water and of movement."

Monet's relocation to Le Havre instilled in him a deep appreciation for water and light—elements that would later define his work. The tragic death of his mother at 16 led him to find solace in painting seascapes, shaping his commitment to capturing nature's essence.

When the Franco-Prussian War erupted in 1870, Monet, a modern republican opposed to the conflict, sought refuge in London to avoid the turmoil:

Jackie Wolschlager [04:25]: "He came to London because... he had no belief that it was a just war. And he didn't want to lose his life fighting for something he didn't believe."

Monet's brief stay in London was marked by personal grief and a sense of displacement, evident in his limited yet impactful output during this period.

Monet’s Artistic Exploration in London

Francis Fowle highlights Monet's artistic motivations:

Francis Fowle [05:27]: "He was interested in exploring these kind of atmospheric effects... painting the sea, and indeed, in Trouville, painting his wife on plein air."

Monet was captivated by London's fog—a blend of natural mist and industrial smog. This atmospheric phenomenon provided a dynamic light play that Monet sought to immortalize through his paintings. His approach differed from traditional Impressionists; he emphasized abstraction over detailed representation.

By the early 1870s, Monet began painting scenes along the Seine, capturing figures and flora enveloped in pools of light:

Jackie Wolschlager [03:14]: "He was saying, this is how we experience life, painting. And so that's what he did in the 60s... he ended up very poor."

Despite initial rejection by the art establishment, Monet's dedication to portraying modern life through innovative techniques laid the groundwork for his later success.

Return to London in 1899

Jackie Wolschlager discusses the personal circumstances prompting Monet's return to London:

Jackie Wolschlager [12:59]: "He was married to the love of his life, Alice. In 1899, her daughter died. Alice went absolutely mad... he thought perhaps the most helpful thing he could do would be to take her away."

Monet sought to escape the grief-stricken environment of France, especially in the wake of the Dreyfus Affair, which deepened societal divisions and fueled his decision to revisit London.

Monet’s London Thames Series

Francis Fowle elaborates on Monet's technical endeavors in London:

Francis Fowle [16:24]: "He was painting in front of nature, but he's also... constantly shifting... trying to capture fleeting effects."

Monet embarked on creating nearly a hundred paintings of the Thames, each capturing different times of day and varying fog conditions. His method involved quick, spontaneous brushstrokes to seize transient light and color variations.

Jackie Wolschlager offers insights into specific works, such as "Waterloo Bridge, Misty Sunshine":

Jackie Wolschlager [23:58]: "He just suffuses everything in this beautiful pink, purple mist. It's a really daring colour to put on a natural landscape of London."

These paintings were innovative in their abstraction and color harmony, positioning Monet as a pioneer moving towards modernism.

Influence of J.M.W. Turner

Karen Ser draws parallels between Monet and the English artist J.M.W. Turner:

Karen Ser [30:38]: "By taking on the Thames as a subject matter, Monet absolutely knew that he was also taking on Turner."

While Monet admired Turner, he sought to establish his distinct vision. Unlike Turner, who often painted from memory, Monet emphasized direct observation and the immediate impression of his surroundings.

Jackie Wolschlager adds:

Jackie Wolschlager [33:11]: "Monet didn't like the Turner comparison at all. He played it down."

Despite similarities in their fascination with light and atmosphere, Monet was keen to assert his unique approach, distancing himself from Turner's romanticism.

Monet’s Later Years and Legacy

The discussion transitions to Monet's later works and his shift towards greater abstraction:

Jackie Wolschlager describes the "Water Lilies" series as a culmination of Monet's artistic journey:

Jackie Wolschlager [37:43]: "They're becoming progressively more abstract. With the water lilies, he really is leaving representational painting behind."

Karen Ser emphasizes Monet's intention to create immersive experiences:

Karen Ser [47:56]: "Monet wanted the audience to have the same experience as he had in his studio. All the paintings together were an installation rather than seeing them one by one."

Monet's exhibitions, particularly the unveiling of his Thames series in 1904, were pivotal in cementing his reputation. Despite initial lack of interest from British collectors, his work gained international acclaim, influencing subsequent artistic movements and generations.

Francis Fowle reflects on Monet's innovative spirit:

Francis Fowle [48:55]: "He did owe something to Whistler because Monet owed something to Whistler..."

Monet's dedication to capturing fleeting moments and his move towards abstraction positioned him as a bridge between Impressionism and modern art.

Conclusion

In "Monet in England," Melvyn Bragg and his esteemed guests provide a comprehensive exploration of Claude Monet's transformative years in London. Through meticulous analysis of his Thames series and personal anecdotes, the episode illuminates Monet's relentless pursuit of capturing light and atmosphere, his resilience amidst personal and societal upheavals, and his enduring legacy in the art world.

As Monet navigated the bustling, fog-laden streets of London, he not only found a refuge but also a fertile ground for artistic innovation that would resonate through the annals of art history.

Notable Quotes:

• Jackie Wolschlager [02:00]: "He ... painting water. So that was the lifelong influence."

• Jackie Wolschlager [04:25]: "He came to London because... he had no belief that it was a just war."

• Francis Fowle [05:27]: "He was interested in exploring these kind of atmospheric effects."

• Jackie Wolschlager [12:59]: "He thought perhaps the most helpful thing he could do would be to take her away."

• Francis Fowle [16:24]: "He was painting in front of nature, but he's also... trying to capture fleeting effects."

• Jackie Wolschlager [23:58]: "It's a really daring colour to put on a natural landscape of London."

• Karen Ser [30:38]: "Monet absolutely knew that he was also taking on Turner."

• Jackie Wolschlager [33:11]: "Monet didn't like the Turner comparison at all."

• Jackie Wolschlager [37:43]: "He really is leaving representational painting behind."

• Karen Ser [47:56]: "All the paintings together were an installation rather than seeing them one by one."

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