Artists divinely know how to capture the light of winter.
Vincent Van Gogh, "The Weeders", 1890.
Paul Klee, "Winter landscape - predominantly violet", 1923.
Pablo Picasso, "Snow Landscape", Circa 1924
Kasimir Malevich, "Village in the morning after a snowstorm", 1912
Nicolas de Staël, "Marseille under the snow", 1954.
Maurice Utrillo, "The Agile Rabbit in the Snow".
"View of roofs - Snow effect", Gustave Caillebotte, 1878.
Paul Signac, "Snow, Boulevard de Clichy, Paris", 1886.
Claude Monet, "Boulevard Saint-Denis, Argenteuil in winter", 1875.
Pierre Bonnard, "Snowy Landscape, Child In A Hood", 1907.
What a technique to be able to represent snow so well in prints. So no printed white. One of "One Hundred Famous Views of Edo" by Utagawa Hiroshige, 1853.
Albert Marquet, "The Pont-Neuf under the snow", 1938.
Claude Monet, "Meules effect of snow", 1891.
Calder pensive on the threshold of his studio scrutinizing his stabiles in the snow.
Zao Wou-Ki, Dancing Snow, 1955
A car, a pretty woman, a sense of leisure, a beautiful light!
No hesitation it's a photo of Jacques-Henri Lartigue, and damn rare because in color. "Florette in Megeve", 1965.
What a brilliant idea the removable 2CV bench seat!
Undoubtedly one of the most beautiful paintings in the world! Without appearing to be so, this modest snowy landscape by Claude Monet, entitled The Magpie, marks the beginning of Impressionism. We are in winter 1868-1869, five years before the official birth of the movement.
Monet seeks to capture the sensation, to render the "effect". Drawing on Pissarro, Renoir and Sisley in his research, Monet takes up the subject of the landscape under the snow following Courbet.
Sun and shadow build the picture and translate the elusive matter half solid half liquid. The impressionist landscape was born, five years before the first official exhibition and the baptism of the movement. The representation of this corner of the countryside of the region of Etretat, made on the motif, gives to see very unusual light and luminous tones, which the critic Félix Fénéon underlined: "[The public] accustomed to the bituminous sauces that cook the cooks of the schools and academies, the light paint stunned him".
The novelty and audacity of Monet's bias, more preoccupied with perception than description, explains the refusal of the canvas by the jury of the Salon of 1869.