Essen, Villa Hügel, Aus der Gemäldesammlung der Familie Krupp, 1965, no. 65
With regard to the artist's technique in the 1880s, Andrew Forge wrote: “Color which he now learned to use with an unprecedented purity offers an infinitely subtle and flexible alternative to the traditional massing of light and shade. Systems of interlocking blues and oranges, for example, of lilacs and lemons will carry the eye across the whole surface of the canvas and these color structures, each marvelously turned to the particulars of light will be augmented by a vast range of accents of comma, slash, dot, flake, each attuned economically to its object that the eye is continually at work in its reading” (A. Forge in Claude Monet (exhibition catalogue), Acquavella Galleries, New York, 1976, n.p.).
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