This lavishly illustrated book presents the first complete overview of the life, art, and times of the quintessential Impressionist. Tucker, one of our foremost authorities on Monet, offers a striking new view of the artist, showing him to be a far more complicated figure than previously acknowledged, fiercely competitive and ambitious, as well as sensitive and inventive.
“Claude Monet: Life and Art” by Paul Hayes Tucker certainly deserves kudos for its beautiful and abundant color plates as well as its excellent layout wherein referenced plates appear very close to the corresponding referencing text. Additionally, Tucker obviously has an excellent grasp of artistic theory and concepts, not to mention art history. I appreciate his insights into the paintings, but I must say at times I felt like “enough already.” The pleasure and value of a painting come, for the most part, from the viewer's reactions to it. Some viewers may be gratified by a more cerebral reaction to a painting while others may find their gratification in a more emotional or visceral reaction. Tucker certainly had reactions of all kinds, and good for him. However, as I said, enough already. My favorite parts of this book were those that gave insights into Monet the man. These insights weren't always agreeable, but that's part of the draw of Monet. My goal was to get an understanding of Monet the man, Monet the artist, Monet the husband, Monet the father, Monet the step-father, and Monet the friend; Tucker's work provided valuable and interesting information which took me a long way towards that understanding. I'd have enjoyed more of this personal type of information and less of Tucker's erudite analysis of each and every painting mentioned in the book. All in all, though, an excellent read.
A quite comprehensive and readable account of Monet's life and work. The text is appropriately accompanied by pictures of the artist's paintings out his career. Much interpretation by the author of the artist's motivations through speculations about his painting. Such artistic psychoanalysis is questionable, but among the possibilities. I read the book with the hope of having more information about the relationship between Monet and his two wives. The author's conclusions in this regard were limited and ambiguous. I wonder,for instance. why the painter portrayed his first wife Camille so often and so lovingly and never painted a single image of his second wife Alice.
Well written, easy to read - even if you aren't familiar with art history or criticism - with lots of color pictures of the works discussed. And not stuck at the back of the book or the middle of the book - the pictures are at most a page away from the first mention in the text.