↗France, late 19th century-early 20th century · c. 1915–26
Water Lilies (Agapanthus)
Claude Monet
Colour palette
#BAC1BD#69584D#877C6C#A08974#B0ACA2#C9CDC7
Approximate colour proportions
Estimated from six colour groups in the museum image, including visible paper or borders. Reproduction and lighting affect the result; these are image-area proportions, not pigment measurements.
Nancy F. and Joseph P. Keithley Collection Gift · The Cleveland Museum of Art
Image licence: CC0 · Museum record & image source ↗
France, 20th century · 1902
Fishmarket
- Date
- 1902
- Medium
- oil on canvas
- Dimensions
- Unframed: 66 x 81.3 cm (26 x 32 in.)
- Country / context
- France
- Movement / tradition
- European and American art
- Collection
- The Cleveland Museum of Art
- Attribution / role
- Museum attribution
- Pathway
- European and American art ↗
FROM THE MUSEUM
This impressive view of a bustling fish market belongs to a series of paintings that Pissarro made during the summer of 1902 depicting the harbor at Dieppe. Borrowing from the Impressionist method of portraying a modern city from a high vantage point, he enlivened the scene with rich, vibrant colors applied with energetic, broken brushstrokes. Ever concerned with the fleeting effects of atmosphere, Pissarro painted the interpenetration of industrial steam with the clouds in the brilliant, sunlit sky.
Collection text · The Cleveland Museum of Art · CC0Place in the artist’s career
Follow the 1866 landscape, the 1872 lock, the 1879 woodland edge and the 1902 market. Compare the balance between architecture, foliage and human activity, then the changing density of marks. These selected works do not cover every colour experiment, so they should not be used to claim a continuous, one-direction shift in technique.
The artist’s practice
Artist-wide context; individual works may differ.
Media and surface
Painted landscapes and printed urban scenes preserve an interest in everyday environments.
Marks and structure
Small repeated marks organise foliage, architecture and human activity without erasing their differences.
Palette and light
Tonal and colour relations bind land and sky; his divided-colour experiments were one phase, not a permanent rule.
A MOMENT TO LOOK
Start with what you can see: shapes, surface, colour and scale. How might the listed materials affect the way this object was made and experienced?
Looking prompt · an invitation to observe, not a historical interpretation.
