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Rick.Wang

Introduction to Aesthetics: Art and Nature

Thomas. Carroll and Alice.Chuang

2014.4.6

Analysis of Japanese bridge of Monet

In the series of Japanese Bridge, which was started from 1899

and ended up in 1924, what interests me most is the last one.

And this paper is mainly focused on Japanese Bridge, 1924, part of

the paper is going to compare it with other works in different

time.

First I am going to analyze the bridge from imitation

theory. Briefly speaking, imitation theory derived from Plato,

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the basic idea is all works of art are imitations of the

things in our world. So based on this, Japanese Bridge is not out

of the realm of imitation theory. On the one hand, the bridge

is real existence in Monet’s Giverny garden. This provides the

stance for the theory, which means there is a real thing in

Monet’s world. He does’t create a work of art only by

imagination. On the other hand, when we focus on the color and

the shape of Japanese Bridge, we should pay attention to the

details, the imitation of the light and color.

Monet is an artist who is extremely strict in color and

light. In the series of Japanese Bridge,we know none of them is

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the same. For this one, the green and red color that he uses

to imitate the real things beautiful. As an audience, I tend

to say he is showing us the scene of spring. Generally, only

in spring, can we get the beauty as the painting shows. Apart

from this, the relationship between the objects mainly relies

on the light and shadow especially when you have learned some

basic skills for drawing. The only way to make the relations

of the objects perfect is to imitate the real world. That is

why I like to say Monet’s work is located in the range of

imitation theory. Even there are just colorful dots, but some

of them looks light-colored, and some a little dark. It is not

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easy to cope with the relations of light, because it is too

complicated, especially in this work. But Monet does a good

job, and that is a great imitation of the real thing which is

in real world.

The only problem is that if we use imitation theory to

analyze this bridge, we cannot deny that the bridge does not

look real enough. Or more extremely, get close to look this

artwork, you cannot tell what it is only except the colorful

blocks, red and green. If we cannot tell the work is, how can

we say it is imitation? On the contrary, if we know the work

was reproduced in artist’s mind and then express it in a new

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way, it is still the imitation of bridge and that is the point

I choose to stand. As impressionists focus on the painterly

aspects of light and color and become increasingly

abstract(Meyers, 2005). But no matter how abstract it is, it is

still telling people the truth, the real scene that we know

and see.

Imitation theory is the subcategory of representational

theory. Preciously we talked the only problem that the

imitation theory may confront, however, that is the realm

where representation theory works. The basic concept of

representational theory is, when we determine whether a work

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is a work of art, we should know whether it stands for

something. It is no doubt that this work fits the basic

requirement. As we analyze it by means of imitation theory

above and we admit that imitation theory is the subcategory of

representational theory, I like to focus on the problem that

imitation theory meet.

And the colored red dots could be viewed as the flowers,

the green in the water could be seen as the water lilies.

Comparing to the previous work, we know clearly what the work

is, but this one is not clear. However, when we take a long

distance to watch this work, it is the same scene as before

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but totally different in some extent. Each version of the

scene works on simultaneously to capture the exact light and

color at specific times of day (Meyers, 2005). Monet’s

impressional artworks mainly focus on the light and color in

specific time. Especially in his series of works, in different

time, we see the different colored bridge. In his work, the

same subject represents different things. Basically, the

specific color stands for the status of that time being.

Speaking of neo-representational theory, it is easier to

understand this picture. Monet uses color dots to represent

the subjects. If we say there is something the colors are

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about, we do find the meanings. In other words, Monet’s bridge

is not hard to recognize even if it is a little abstract. But

from a distance, the curtain uncovered and then the beauty

comes out. That is real strange but amazing feeling when I saw

this bridge in exhibition.

Monet narrows his world to the boundaries of his own garden

and then to the exclususion of anything else(Danto, 1990). The

story sounds like Sakyamuni’s, who found the truth under

bodhi. Monet shrinks his life spam, but describing the beauty

of the nature that people tend to ignore. Inside of his work,

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the emotion, and the thoughts toward life, waiting for us to

feel.

This part is the main part that I want to address by the

theory which is expression of emotion. In this work, can you

tell what is the shape is? Or in other words, can you

distinguish any lines which are adopted to show the bridge,

and the water lilies? The only things we can see all of the

objects are represented by the color and light. The usage of

color and light means Monet came to a totally different way in

his life. As we know in early days, what makes Monet famous is

his satirical portraits. That is mainly about the usage of

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lines and to construct the objects on canvas or on paper,

artists need to care for the technology, how to use the skills

to finish the work. But at the same time, it limited the means

to express the artist’s emotion.

As John. Rewald says in The history of Impression, Monet tries to

ignore the actual objects extremely; he absolutely abandon the

form and instead he tries to pursue the incredible miracle of

light under the the color gradation. Based on the actual

objects, Monet tends to create different impressions. His work

is starting with reality but ending up with virtuality. In the

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process, Monet abstract the color and light to express the

essence of beauty.

In Buddhism, according to Heart Sutra, “all Dharmas are

empty of characteristics”, and “form itself is emptiness;

emptiness itself is form”. Here in this work, I can feel the

expression based on my understanding. The first impression

when I saw this picture is universe. Especially based on

ancient Chinese culture, the origin of world is chaos. No

flower, no bridge, and water lilies. This Japanese Bridge, is

expressing the same idea to me that time. Monet uses colors to

create a colorful and light blurred world. Monet spends a lot

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of time to explore the relationship between light, color and

air performance results. In visual expression, Monet is

undoubtedly an expert. Japanese Bridge shows his understanding

and explains the relation between color and light.

Simply, this Japanese Bridge is a wonderful work for expressing

the beauty of the natural scene located in Monet’s garden by

means of impressionism way.

But in terms of the artwork, we cannot ignore the events

happened to Monet that time. Japanese Bridge is a series of

artworks. We can see the earlier works are different from this

one. Before, the forms of the objects are easy to distinguish

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and the color is not diverse as this one. That arouse a

doubt--what happened?

According to the record of history, Monet died at 1926 and

the last bridge finished in 1924(House, 1986). In that time, he

had lost his wife and son. Monet himself was old and he was

the only witness of impressionism finally. His companion, like

Cezanne, left him at last. It is no doubt time that Monet was

saddest. Anyone who got through these experience, would show

his strong emotion. But Monet does not want to show his

sorrow, just as he said to his friend in 1914, “It is still

the best way of not thinking about present sorrows ”(1995).

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And in this work, all we can see is the strong lives. What I

can tell from this is Monet’s fortitude and his thinking of

infinity about life, even the universe.

As an audience, what impress me a lot is the red and green

blocks. I can feel the flow of breath of life, the contrary,-

moving and still, life and inanimate.

Bridge, water and water lilies are three objects that we

can see easily Chinese poetry. At a first glance of bridge, I

can feel time is not flowing. No matter what happen, rain,

sunshine, or snow, it just stands there, without talking, or

even moving. You cannot tell whether it is alive or dead. It

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is just watching the world. Under the bridge, the flowing

water. “a mirror of water suffices as to identify itself with

the universe”, Monet is good at to use water to reflect the

nature. Water provides another canvas for him to express his

talents. Water lilies lying at the surface of water, and it

will die soon with the witness of bridge and water. But in the

short time, should life be unbridled,should be like the

sunflower, facing the sunshine, bursting into bloom. Nothing

is permanent in life. Living a colorful life is most

significant.

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As a conclusion, this artwork, does represent Monet’s

talent to use color and light. As the leader of impressionism,

he gave up figure but grasp the core of art, giving the

audience infinite enjoyment. Especially this Japanese Bridge,

arousing me a lot of thinking about life, about the death and

the meaning of being alive. From this image, I can feel the

world connected by a bridge which is inside of our heart. It

will appear only when you get into that status. Also,

throughout Monet’s life, it is a process to prove

impressionism. He is the only who never give up even if in his

most difficult time. The sorrows that a person may go through,

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Monet does get them all. Losing wives, sons and comrades don’t

make Monet lose his faith. He does give up the quick way to be

honored by the current time but he wins the history’s praise.

This Japanese Bridge, as painted in his latter time of life,

arousing me a lot of thinking about life. Besides this, it

opens a window for me to know what impressionism is . It shows

me the diversity of art and pushes me to think of what role is

the most important in art. For now, as I can tell, technical

ways are not but the expression of emotion does matter.

In a short sentence to end this paper, try to get close to

he nature. Everything is there, waiting for us to explore.

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Monet did so and he sacrificed his whole life to chase his

dream. No matter what the future will be, his artwork swill

infinitely locate in human’s culture,including this, Japanese

Bridge, 1924.

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What do I revise for this paper

1. Before, I just wrote a few words to analyze the work by

means of imitation theory, representational they and neo-

representational theory and I did not explain exactly what

they are. So when I revise it, I briefly explain each theory

in a few sentences and based on the core idea, I begin to

analyze the work of art.

2. I just addressed the sentence, like “X is..stands for..”, I

rewrite it in my own words.

3. I forgot to list the origin of some sentences which are not

my own translation.

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4. I subsume the feeling that I get in the expressional

theory, and I tell the reasons.

5. I correct some words which were wrong used.

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6. Work Cited

"A rare look at Claude Monet's glorious gardens of Giverny." Christian Science Monitor

26 Jan. 1995: 11. Academic Search Elite. Web. 6 Apr. 2014.

“Claude Monet 1840-1926." Publishers Weekly 257.42 (2010): 41. Academic

Search Elite. Web. 6 Apr. 2014.

Danto, Arthur C. "Art." Nation 250.12 (1990): 428-432. Academic Search

Elite. Web. 6 Apr. 2014.

House, John. "Impressionism And History The Rewald Legacy." Art History 9.3

(1986): 369-376. Academic Search Elite. Web. 6 Apr. 2014.

Meyers, Jeffrey. "Monet In Zola & Proust." New Criterion 24.4 (2005): 41-47.

Academic Search Elite. Web. 6 Apr. 2014.

Stuckey, Charles F. "Claude Monet: Impressionism's Leading Light." USA Today

Magazine 124.2606 (1995): 36. Academic Search Elite. Web. 6 Apr. 2014.

Wagner, Anne M. "Why Monet Gave Up Figure Painting." Art Bulletin 74.4 (1994):

612. Academic Search Elite. Web. 6 Apr. 2014.