“Water Lilies” by Claude Monet Analysis Report
The range of colour, category and attributes of colour, type of colour contrast, gestalt theories of perception, perceptual effects.
Claude Monet’s “Water Lilies” can be acclaimed as one of outstanding works by this ingenuous painter. The painting uses a wide range of bright, saturated and complementary colours. This use of colour harmony can be described as one of the most notorious and indicative works by impressionists.
Speaking about the range of colour which can be seen in this painting, it should be said that it is rather varied and features basic colours such as blue as the main colour for the picture used as background, red, and yellow in the upper right along with numerous colour tinctures including white, green, brown and black.
There exist four categories of colour including conventional colour, substance colour, spectral profile colour and profile colour (Green-Armytage, 2006). Analysing this painting, it should be stated that Monet resorts to the use of conventional colours. For example, blue is conventional for water, red for flowers and so on. Speaking about substance colour in this painting, the three main notions should be addressed including the painting’s hue, saturation and tone. In this painting Monet resorts to the use of natural hues, strong saturation and bright tones.
Chevreul (1839) was adherent to the idea that colour harmony has a strong tendency to be connected to colour contrast and colour compatibility. His theories also affected Monet’s way of thinking. Thus, Monet applies highly compliment colour in this painting. According to Chevreul’s theory, the painting may be characterised as using complement colours; however the theories by the other specialists suggest different points of view on this matter. Still, the majority of specialists state that such colours as blue and yellow which can be seen in this painting are to be considered as contrasting (Itten 1961, 1963).
According to Gestalt theory, the main perception factors which are the most important for visual perception are colour, line, contour, contrast, tone and texture. Each individual’s visual perception is affected by apprehension of individual stimuli which are also known as perceptual factors along with individual’s imaginary. People have a tendency to think over any particular object until they will be able to identify it to something familiar within this particular object. Judging on this factor, the painting can be evaluated as having easily noticed objects as lilies and water along with the rest ones such as the sky reflecting in the water.
Perceptual effects are rather many. They often occur in the most diversified settings and bearings. People have a tendency to be affected mainly by colour and colour contrast. Depending on the context and the objectives of their work painters resort to the use of the most varied perceptual effects. In this painting Monet seems to have an objective to impress the audience by the beauty of the pond’s water in its combination with lilies. Thus, he applies strong colour contrast. In addition, sample colours may be affected by the other colours creating the colour system of the painting. The whole painting “Water Lilies” can be acclaimed as featuring highly complement and saturated colours which strengthens the impression it produces. The entire painting’s colour system appears very bright and thus, producing pleasant impression. Monet uses light colour for this picture which makes it appearing nearer to the viewer. In addition, the colours in this painting appear perceptually vibrate adding to its special liveliness and charm. Such vibrant colours as red, blue, yellow, violate, and pink were often used by impressionist to affect their audience. This painting can be described as one of the most vivid examples of such tendency by impressionists to whom Monet can be related as one of the most outstanding. Separated colours of every image when they are evaluated together by the viewer seem to produce new ones from a distance. This can be observed in the colours of the lilies which seem to appear rosier from distance when affected by blue.
The area of strong contrast which is created by hue or saturation attracts visual attention (Boynton, 1979). This painting can be described as a good example of attracting one’s attention on the above mentioned reason. In addition, strong contrast is accepted quickly and easily; this is what happens in the case of this painting. Whereas poor contrast may present a difficulty in experiencing the image by people especially elderly ones and those with poor eye-sight. This picture, on the contrary, presents a good example of strong contrast adding to its easy perception by different viewers.
In conclusion, Claude Monet’s “Water Lilies” can be described as featuring complementary colours, high level of saturation and vibrancy which makes it very appealing to the audience. In this painting Monet resorts to the use of natural hues and bright tones which adds to the picture’s colour harmony and the positive impression it produces. Such vibrant colours as red, blue, yellow, violate, and pink were often used by impressionist to affect their audience. This painting can be described as one of the most vivid examples of such tendency by impressionists.
- Boynton, R. M. (1979). Human color vision. New York: Holt, Reinhart & Winston.
- Chevreul, M. E. (1855). The principles of harmony and the contrast of colours: And their applications to the arts (Facsimile edition; Trans. C Martel). Whitefish, MT: Kessinger Publishing.
- Green-Armytage, P. (2006). The value of knowledge for colour design. Color Research and Application , 31 (4), 253-269.
- Itten, J. (1961). The art of color (Revised edition, 1973). New York: John Wiley.
- Itten, J. (1963). Design and form: The basic course at the Bauhaus and later (Revised edition, 1975). New York: John Wiley & Sons.
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IvyPanda. (2022, January 13). “Water Lilies” by Claude Monet Analysis. https://ivypanda.com/essays/water-lilies-by-claude-monet-analysis/
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What Monet’s Water Lilies Taught Me About Beauty’s Proximity to Violence
W hen I was a little girl, my mother had an umbrella that I wasn’t allowed to use. It was a stick umbrella, the expensive kind with a wooden handle, and the top panels were printed with a watery, vague image—green splotches, purple streaks, blue swirls. This was my first introduction to French Impressionist painter Claude Monet, through a museum-branded household object, and for a long time, that’s all I cared to know of the artist. As far as I was concerned, his work was for suburban mothers and other middle-brow shoppers. Even after I had been exposed to his paintings in high school during a school field trip to the Museum of Fine Art in Boston, I continued to associate the Impressionists with mass-produced souvenirs. I had started studying art history and theory somewhat seriously, and Monet was not for serious people. Compared to contemporary art, which was thrillingly opaque, and ancient art, which was fascinatingly distant, these pretty paintings were boring. I didn’t understand what was so revolutionary about abstraction, and I certainly had no idea that Monet’s soft blooms were a direct response to the unprecedented horror of World War I.
I can’t pretend I know exactly what Claude Monet was thinking as he stood at his outdoor easel in Giverny during the summer of 1914. Thousands of French soldiers had already died in the trenches of World War I, and conflict was coming ever closer to the artist. “I shall stay here regardless,” he wrote from his beloved country home, located just 30 miles from the battlefield, “and if those barbarians wish to kill me, I shall die among my canvases, in front of my life’s work.” It was against this backdrop that Monet created his most famous works: a series of horizonless canvases dappled with shadows, lit from above, strewn with blooming water lilies. Like so many before him, Monet honored the slaughtered with flowers. It’s a practice that spans cultures, from the marigolds of Día de los Muertos to the poppies of Remembrance Day. The association between beautiful, generative plants and destructive, uniquely human behavior has been so repeatedly solidified that at times, it can seem innate. Yet it’s something we chose to do—to tie the worst of ourselves to some of the best and brightest things in the natural world. Beauty and violence exist in tandem because we will it so.
When faced with encroaching chaos, in the seventh decade of his life, grieving the deaths of several family members and the slow degradation of his eyesight, Monet chose to look down into the waters of his pleasure pond and paint. He had created this body of water two decades before by diverting a stream into his patch of country marshland and importing exotic blossoms from abroad. His obsession with lotuses and lilies scandalized the locals (who feared the aquatic plants would take over the waterways) but the pond pleased the painter to no end. It was his refuge, the wide world writ small and manageable. “If William Blake saw the world in a grain of sand,” wrote art historian Ross King in Mad Enchantment: Claude Monet and the Painting of the Waterlilies , “Monet could glimpse, in the mirrored surface of his lily pond, the dazzling variety and abundance of nature.” Although the painter admitted to being “embarrassed” by his continued commitment to art during wartime, he felt there was a value in attempting to capture the beauty of his environment. Not only was the act of painting a defiance of the ravages of war, Monet also chose to donate his canvases to the nation—on the condition that the government find a suitable way to display them. The French rose to the occasion, designating an entire gallery in the Musee Orangerie to the painter’s vision.
I have yet to visit this faraway room but I have friends who have spent time there. Some say it was transcendent, while others say it was too busy, too touristy, too familiar. I still want to go, especially now that I know the context of their creation. The ugly truth is that I, like many people, value beauty more dearly when it is set against the backdrop of suffering. Pain validates prettiness, adding an illusion of depth to something that is, on a surface level, attractive enough already. Violence, unlike flowers, was something I’ve always understood to be important, compelling, and worthy of somber consideration. I’m an American and for us, violence is often depicted as a valid form of self-expression. Bloodshed can be edgy or envelope-pushing. According to our filmmakers, it can even be beautiful. “It’s just another color to work with,” Quentin Tarantino once famously said . “It doesn’t mean anything.”
Read more: Why We Love Violent Delights
Except, of course, that second part is not true. Violence in art means something just as bloodshed in life means something. Aesthetics matter, and aestheticizing violence is one way of spinning it into myth, elevating brutal actions to an almost spiritual level. Like beauty, violence can appear transcendent. It can shift one’s reality , alter one’s brain chemistry and even change one’s gene expression . There is a power to it, one that flowers sorely lack.
And yet, we’ve wound these things together, blood and roses. Flowers are a janus symbol, their pretty faces mean both life and death. Wilting flowers in a vase can serve as an artists’ memento mori while fresh flowers in a wreath signify the quickening of new life and the fruits of spring. Even without the war, Monet’s series of immersive, challenging, almost psychedelic canvases, dappled with sacred lotus flowers (a symbol of transcendence, beauty rising from the muck) should matter greatly. Their existence should be enough.
But I’m a rubbernecker; I stare at the crosses by the side of the road, decorated with plastic flowers, scenes from a recent death, and I wonder: Whose life ended on this stretch of highway? I see the fresh flowers in a cemetery and I can’t help but look at the dates. Who died, how young? The truth is that I’m seduced by what sickens me. Even now, I catch myself dismissing the calm, the good, the nice in favor of the poignant, the strange, the intense. Life is full of small, familiar pleasures, yet I still underrate them in favor of those big swoops of drama. I don’t like this about myself.
Lately, I’ve been trying to rewire my brain slightly—to think more like Monet. His wisdom was hard-won, late-in-life. But after living through a pandemic, I feel that I’ve gained some perspective. In the past few years, I’ve attended too many funerals. I’ve become wary of the scent of white lilies. I’ve also had to race to daycare to pick up my daughter after a violent threat was made, images of bloodshed roaring through my head. There was nothing transcendent about those mad minutes, nothing beautiful about the sour smell that emitted from my body for hours afterwards, nothing to be gleaned from the sheer intensity of emotion or the grasping desperation of fear. If there were flowers around that morning, I was unable to see them, much less appreciate their colors.
I could dwell in those places, for they have power and weight, not to mention a healthy population of prisoners. Instead, I’m trying to honor the small plants that come across my path, the fuchsia bursts of fringed polygala, the spotted yellow of a trout lily. I’m not much of a painter, but I can bestow my attention on the things that grow around and in front of me. Their meaning is no more or less than life itself.
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The Story of Claude Monet’s Water-Lily Masterworks
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By Deborah Solomon
- Dec. 2, 2016
MAD ENCHANTMENT Claude Monet and the Painting of the Water Lilies By Ross King 403 pages. Bloomsbury. $30.
Is there anything left to be said about Claude Monet, the celebrated Impressionist who took painting out of the studio and into the breezy, sneezy countryside? He gave us the defining view of French leisure and remains a perpetually bankable subject of museum blockbusters. His images of poplar trees and stacks of wheat, of stone cliffs off the coast of Normandy, of women strolling beneath the shade of their tilted parasols — they suggest that life is inherently pleasurable, a series of languorous afternoons whose only hazard is overexposure to the sun.
Yet Monet was plenty radical, especially in his Grande Décoration, as he referred to his wall-to-wall paintings of water lilies. He began the series in 1914, at the age of 73, setting up his easel beside his pond in Giverny and staying put as World War I flared around him. Ross King’s “Mad Enchantment: Claude Monet and the Painting of the Water Lilies” is an engaging and authoritative portrait of the aged artist and his travails. By 1920, Monet was twice widowed and suffering from cataract-clouded vision. His confidence was at such a low that he frequently destroyed finished paintings. He had been famous for so long that many people assumed he was dead. As the last surviving French Impressionist, he pined for the company of absent friends — Renoir and Cézanne, especially — and felt estranged from a younger generation that considered his work passé beside the razzmatazz of Picasso’s demoiselles.
“Les Nymphéas,” as his water lilies paintings were officially titled, are among art history’s greatest last acts. Compared with Monet’s earlier paintings, with their direct transcriptions of the countryside, the water lilies dispense with contours and boundaries and veer toward abstraction. They mark the advent of “all-over painting,” a phrase that was coined in New York in the 1950s, when Monet was abruptly rediscovered. Critics who were eager to construct an instant lineage for Jackson Pollock’s then-new drip paintings looked to Monet, who, though trained as a 19th-century realist, helped pioneer the 20th-century belief that vision is fundamentally subjective, a rush of shifting sensations, a stream (or pond?) of consciousness.
The Monet who emerges from King’s pages is a sympathetic and vivid character — less the wizened patriarch of French Impressionism than a crotchety septuagenarian afflicted with toothaches. Tired of his once-frequent forays into the French countryside, he reinvented himself as a homebody painter and designed his pond as a way of solving his problem of what to paint. In the process of constructing it, he applied to the local authorities for permission to reroute the Ru river to his property. His neighbors were initially suspicious. Here was a celebrity artist who seemed to snub French horticulture in favor of Oriental traditions. Instead of manicured hedges and Versailles artifice, he built a water garden of Zen tranquillity, complete with a Japanese foot bridge and stalks of bamboo.
To be sure, Monet had his partisans. They included his doting biographer, Gustave Geffroy, and the art critic Octave Mirbeau, who frequently traveled out to Giverny to see his work. And then there was Georges Clemenceau — yes, that Clemenceau, the world-famous statesman who steered France through World War I and served twice as the country’s socially progressive prime minister.
The friendship between Monet and Clemenceau amounts to its own fascinating story and resembles an odd-couple comedy. Monet had little interest in politics and never voted in an election. But Clemenceau was a true intellectual with a daunting cultural range. His apartment in Paris was cluttered with his Japanese collectibles — tiny netsuke figures, lacquered tea bowls, woodblock prints by Utamaro and Hiroshige, a reminder that he and Monet were not provincial in their tastes. You can even see Monet’s lily pond as an expression of their shared passion for things Japanese and their increasing closeness after the end of their respective marriages.
It was Clemenceau, implausibly, who oversaw the treatment of Monet’s eye problems, an “unspeakable drama,” as he described it. He found an ophthalmologist for Monet and persuaded the artist to undergo a much-postponed cataract operation. Monet did not excel as a patient. During his long recuperation, he sent off cross and accusing letters to his doctor. His eyes watered all the time; he saw black dots floating in front of him. He regretted the operation and told the doctor it was “criminal to have me put in this situation.” A second operation was needed. Clemenceau, an architect of the Versailles Treaty, drew on his deepest diplomatic skills to make peace between Monet and the eye doctor.
To be sure, Clemenceau had a professional interest in Monet’s well-being. At the end of World War I, immediately after the signing of the Armistice of Nov. 11, 1918, Monet graciously offered to donate some paintings to the people of France. After nearly a decade of on-again, off-again negotiations, a series of now-famous lily paintings were installed on specially constructed, curving walls at the Musée de l’Orangerie in Paris, surrounding the viewer with a blue-hued blur of water and plants and reflections of clouds. Astoundingly, the murals were ignored for years and treated shabbily. As King notes, they were once covered up to make room for a temporary exhibition of Flemish tapestries.
King, who has previously written books on Brunelleschi’s dome, Leonardo’s “Last Supper” and Michelangelo’s Sistine ceiling, has made it a practice-bordering-on-formula to take on just one work of art at a time. This lends his books a welcome focus. His prose is admirably clear, although, in describing paintings, he can lapse into hyperbole. At the Orangerie, for instance, three of Monet’s murals “are flanked by the graceful curves of truncated willow trees showering their branches in fragile, flickering cascades as they gather us in a sweeping embrace.” The book is short on analysis and fails to definitively explain the role played by Monet’s illness in the development of his late style.
Nonetheless, “Mad Enchantment” offers a moving portrait of the artist as an old man, and usefully shatters the myth of him as a lone genius sequestered in his garden, communing with the birds. It has often been said that Monet painted the water lilies in near-total seclusion, so it’s heartening to read about the bustle of appreciative people around him, from his staff of gardeners, to his stepdaughter, Blanche, who lived with him until the end, to his dear friend Clemenceau, who was at his bedside, holding his hand, when he died. In art, as in so much else, it takes a village.
Deborah Solomon, the art critic of WNYC public radio, is writing a biography of the artist Jasper Johns.
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Water Lily, Essay Example
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The Water Lilies are described as representing an important stage in the evolution of plants. Scientists have discovered that that the water lilies (an angiosperm), has two copies in the genetic composition. Hence it has evolved from gymnosperm to that of angiosperm. As such this represents the intermediary stage between that of flowering and non flowering species. The Water Lily may therefore be considered as a possible missing link in the plant species. (CBC News, 2002). ” The angiosperms, or flowering plants, are one of the major groups of extant seed plants and arguably the most diverse major extant plant group on the planet, with at least 260,000 living species classified in 453 families” (Edwards, 2005).
These water plants easily adapt to cold climates as they die back in the winter months and just leave the tubers in the pond or lake bad. Parts of the plant also break off and subsequently reproduce in order to form a new plant. The old plant re-emerges in the Spring to build a new plant. The tubers survive and multiply in the mud from where they derive nutrients. ” Their roots are firmly anchored at the bottom and their stems are unusually long and flexible. This protects them from possible injury from water currents. Water lilies face other survival problems as they float on the surface of the water or are held high on their long stems. The top surface of their leaves is waxy and repels water. Their broad leaves are also supported by thick long stalks. These are full of air chambers that supply oxygen for respiration.” (Irum Sarfaraz, 2010)
CBC News. (2002, 2 4). Water lily is ‘missing link’ of plants . Retrieved 4 17, 2010, from CBC News: http://www.cbc.ca/health/story/2002/01/30/waterlily020130.html
Edwards, P. S. (2005, 6 3). Angiosperms . Retrieved 4 17, 2010, from The Tree of Life Web Project: http://tolweb.org/angiosperms
Irum Sarfaraz. (2010). How Do Water Lilies Protect Themselves From Injury? Retrieved 4 17, 2010, from ehow: http://www.ehow.com/way_5835967_do-lilies-protect-themselves-injury_.html
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Ella Cara Deloria’s 1988 novel, Waterlily, is an examination of the Dakota Native American way of life. The novel follows a Dakota camp circle called White Ghost—a group composed of several families that live and travel together. While the novel provides perspectives from many different characters, the author places the greatest focus on Blue Bird and her daughter Waterlily.
At the novel’s outset, Blue Bird gives birth to Waterlily by a river while her camp circle is in the process of moving to another site. A few years prior, Blue Bird and her Grandmother, Killed-by-Tree , were separated from White Ghost, their original camp circle. They are adopted by another camp circle, and Blue Bird marries Star Elk. Shortly after giving birth, Star Elk rejects Blue Bird as a wife. Blue Bird receives word from White Ghost, and she and Killed-by-Tree travel back to their original circle.
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Blue Bird marries Rainbow , a well-respected man in the community. She is welcome by Rainbow’s family and grows close to her mother-in-law, Gloku . Killed-by-Tree dies shortly after. Blue Bird gives birth to two more children, Ohiya and Smiling One, and she is happy in her new marriage. The novel follows Waterlily’s development as a child, adolescent, and young adult. She quickly is indoctrinated into the kinship rules, which dictate the social roles and rituals of the Dakota. Family and respect are of the utmost importance, as are prescribed gender roles. Waterlily becomes close to her stepbrother, Little Chief .
Waterlily is bought in marriage by Sacred Horse , a well-respected man from another camp circle. Waterlily leaves her family behind and takes up residence with her husband and in-laws. She misses her relatives and longs to return to White Ghost. Smallpox breaks out in the camp circle, and Sacred Horse dies. Waterlily and her in-laws leave the circle to escape the smallpox, and several of her relatives are killed by a war party. Waterlily, her sister-in-law Echo, and her son escape.
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Waterlily is pregnant, and she returns back to White Ghost, where she is welcomed. She re-marries Lowanla , a young man who she had noticed previously at a Sun Dance ritual . Waterlily gives birth to a son, Mitawa, and embraces her role as a mother and wife.
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Indigenous people's literature.
Claude Monet Water Lilies Analysis Essay
The water lilies was an series of approximately 250 oil paintings Claude Monet (1840-1926) produced late in his life while he was 74 till his death at 86 in his garden at Giverny, west of Paris along the Seine. Claude Monet was a impressionist. To illustrate, Louis Leroy, writing for the satirical journal Charivari, sized upon the tile of Monet’s painting IMPRESSION, SUNRISE while Monet exhibited his painting in Paris in 1874 (Marilyn 495). And this was the first time the term impression was used.
The impressionists were not focusing to recapture the actual appearance of physical things, but they were focusing to capture the fleeting light effects and atmosphere (495). Monet was a pure and extreme impressionist, and he spent his whole life trying to express the instantaneous impression of a fleeting moment in nature to his paintings and to capture the beauty of the optimal world. In his late life while he had a vision problem and unhealthy condition in the body, he spent most of his time and energy in his garden to study water lilies.
The passion Monet putted into the water lilies series of paintings verified the tenacious vitality of Monet and his love of art. The rest of the evaluation will be more based on the Water Lilies painting (1914–1917) in the Legion of Honor museum. This is a pure water landscape painting that describes simply some water lilies and lotus leaves on the surface of the water. There are no reflection of the clouds and the sun even on the surface of the water, and the water is just pure blue in color.
Similar to Chinese landscape painting, the audiences should first focus more on the artistic conception from the artist than the actual physical details of the painting. By looking at the beautiful and energetic water lilies flowing in the pure and clean water that is able to reflect the blue sky, the audiences can feel the theme of calm, relax and hopeful. People feel so comfortable just by staring at this water lilies painting. Claude Monet used heavy and weight brush works on the water to show the movement of the water and to make the landscape look more realistic to nature.
Moreover, if the audiences look more closely at the painting and carefully examine the directions of the brushworks of the water, they can w see the water is moving toward one direction, which is the top right of the painting. Furthermore, the audience can also see the color is the darkest on the bottom left of the picture plane such that there are some grasses locates on that part of the water. Then the color becomes lighter from the bottom to the top and the left to the right, so does the water become cleaner in the same direction. Eventually, the water is becoming pure enough on the top right to reflect an extreme light.
These two details emphasizes the audience can imagine the darker part that locates closer to the audience in the painting as some evil things that is happening right now and the light reflecting on the far top right as hope in the future. Hence, the audiences can receive the message from Monet of “stay calm and positive when there’re bad things happening right now because there’re hope in the future. ” Indeed, World War 1 was happening while Monet was composing the series of water lilies paintings in his little garden, and his feeling about the war was reflecting on his paintings.
For example, the Water Lilies (1914–1917) in the Toledo Museum of Art is extremely different from the one discussed above. There’re lots of grass on the painting and the audiences can hardly see the water in the composition. The water lilies in the Toledo Museum of Art reflects the catastrophic Monet viewed the world while he was composing it. Moreover, expecting the water lilies in the Legion of Honor museum was composed when World War 1 was about to end will be an educated guess because the audiences can feel faiths from Monet by looking at he painting Furthermore, the audience can neither see the ground nor the horizontal line on the far side in all the paintings of the water lilies series.
Usually an artist will compose a horizontal line and a ground where the audiences can project themselves standing in order for the audiences to travel through different parts of the picture plane. But Monet purposely filled out the whole picture plane with purely water landscape because he wanted to extend the volume that portrayed.
Hence, This composition can allow Monet to show an infinity water landscape to the audience in a finite picture plane. Truly, because Monet developed cataracts in his eye and his health condition was getting worse while he was composing the water lilies series that led to the inconvenient for him to get out of his garden easily in his late life time, this probably the reason Monet expressed his will and spirit to move freely in the water lilies paintings while he was physically limited to do that in real life.
By comparing to Monet’s early paintings such as the Sunrise in 1872, although the series of water lilies paintings still kept the fast and open brush-stroke technique that produced the unfinished looks, the audience could clearly see that Monet used more rough brushstrokes and chose more unconstrained colors in the water lilies series paintings than his early works.
Some may claim this was because of Monet had bad vision in his late life time, but I rather believe this was due to his passion to record the shifting play of light in nature and his ultimate goal to capture or even create the optical beauty of the natural world into his painting. Therefore, Claude Monet was able to break all compositional rule to paint freely in his art.
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Waterlily Essay Questions
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What is the symbolic meaning of Waterlily's marriage to Sacred Horse?
Waterlily's marriage embodies sacrifice because she does not marry out of love, but for the exchange for the two horses meant to be gifted to her late grandmother. Before the death of Goku (Waterlily's grandmother), her uncle had promised to gift her with two horses. Unfortunately, the two horses are stolen. The youthful man's family is ready to offer two horses in exchange for Waterlily. Waterlily accepts to get married to the young man so that her uncle can get the two horses to honor her Goku. Consequently, Waterlily sacrifices her love in exchange for a gift presented to her late grandmother.
How does the author tackle the issue of culture and traditions in the book ‘Waterlily’?
The book is entirely about the traditions and the mysticism of the Dakota women. The readers are introduced to the main character, Waterlily, and they follow her throughout her life. The Dakota women are keen on observing the Sundance, a traditional annual event that all families are expected to attend. The readers also come across the ritual of honoring the death when Waterlily's uncle gifts her late grandmother with two horses. Additionally, there is wife inheritance, which is demonstrated after Sacred Horse's death (Waterlily's husband). After the death of Sacred Horse, his siblings ask water Lily to lure one of her husband's cousins to marry her so that he can take care of her newborn.
Do you think that fate is among the primary themes in the book ‘Waterlily’?
The theme of fate is evident in the book because, at last, Waterlily marries the man of her dreams, Lowanla. Waterlily first met this handsome boy at the Sun Dance ritual. Waterlily got attracted to him, and she offered to give him water though he denied. The boy did not seem to understand that Waterlily was deeply in love with him. As fate turns out, Lowanla is the cousin of the late Sacred Horse, and he is the one to inherit Waterlily. Therefore, the two ends being husband and wife out of fate.
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Waterlily Questions and Answers
The Question and Answer section for Waterlily is a great resource to ask questions, find answers, and discuss the novel.
Ego is an individual's sense of self-worth or self-importance.
Why does the author choose to begin Blue Bird’s story in paragraph 2 with so cruelly ended in a day?
The author provides the exposition which gives context to the story.
Dr. Livingstone was a famous:
Study Guide for Waterlily
Waterlily study guide contains a biography of Ella Cara Deloria, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
- About Waterlily
- Waterlily Summary
- Character List
Essays for Waterlily
Waterlily essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Waterlily by Ella Cara Deloria.
- Native Births: The Isolation and Independence of New Mothers in Waterlily
Wikipedia Entries for Waterlily
- Overlying theme: kinship
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For as long as I can remember, I have had an interest in art and painting. In pre-school and elementary school, art was one of my favorite pastimes. I enjoyed expressing myself through drawing and choosing colors to represent my imagination. I began taking art lessons from a local artist, and I experimented with watercolors and oils. Although over time my interests broadened and art became less of a priority, I still admired that it symbolized more than just colors on a canvas. Claude Monet's "Water Lilies" is an extraordinary work of art that has captivated me for some time. His reflection of the fleeting aspects of nature and subtle effects of the sun's passage are executed with an exotic modulation of color. "Water Lilies" is a replica of an environmental work of art he created in a strip of marshland across from his home. There he meditated and contemplated for over 20 years as he created his "Water Lilies" series. As I gaze at this magnificent work of art, I find myself drifting and reflecting about my past, present, and future. My past has been dimmed by some difficult life experiences that have caused me to seek bits and pieces of serenity and tranquility. Monet's "Water Lilies" has provided me with many moments of comfort as I have searched for inner peace. The changes of light and shadow in the reflection of the water have been soothing to me, allowing me to find harmony within my environment, my future, and myself. .
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Essays Related to Water Lilies
1. plants and water balance.
A structural adaptation of the water lily is that it has small and flat leaves. This adaptation is important because having smaller leaves means that the water lily has a greater surface area, which will increase the rate of photosynthesis. ... If the water lily did not have small and flat leaves it will not be to able to capture as much sunlight for photosynthesis which means that it will not be able to photosynthesize as efficiently. As a result, the water lily will not produce as much glucose and oxygen, which are raw products, needed for respiration to occur. It is important for respiratio...
- Word Count: 2711
- Approx Pages: 11
- Has Bibliography
- Grade Level: Undergraduate
2. Secret Life of Bees
When Lily and Rosaleen came to live at August's, August's sister June disliked Lily for the sole reason of this hatred, except that Lily saw the hate directed toward people like Rosaleen, but it had roots within both competing sides. All throughout Lily's staying at August's house, June showed dispassion to Lily. Until one moment when Rosaleen, Lily, August and May- August's sister, were enjoying themselves in the yard, in a crazy game with water. Soon June joined them and started enjoying herself as well, when Lily sprayed June with water. Lily and June started st...
- Word Count: 483
- Approx Pages: 2
- Grade Level: High School
3. House of Mirth
Lily is constantly worried about money. ... Lily "was like a water-plant in the flux of the tides."" (Page 54) Lily was like a water-plant in the sense that she had no roots. ... Rosedale is quite smitten with Lily, and proposes marriage to her, however Lily refuses him. ... She no longer wants to be the roaming "water-plant."" ...
- Word Count: 1273
- Approx Pages: 5
"Blue Water-lilies" is one of Monet's later pictures. ... Brush strokes were both vertical and horizontal, lily pads being horizontally painted and the water with reflections of what looks like willow trees over the water. ... The lily pads are the main feature with dark blue and purple vertical lines of water. The reflection of the willow branches, overhang the main grouping of water lilies. ... I feel the focal point of this picture is the water lilie flowers placed randomly on the lily pads. ...
- Word Count: 1102
- Approx Pages: 4
5. Botanical Imgeries in Sorekara
Before Michiyo's arrives, Daisuke engages himself with arranging the lilies-of-the-valley, flower that is used to symbolize him. ... As a result, when Michiyo drinks the water from the bowl containing the lilies-of-the-valley, she is literally consuming his energy After she drinks the water, colour returns to her cheeks, and she is invigorated. ... Michiyo brings along three large white lilies during her visit. ... However, with Michiyo's lilies, he snips the ends to half their length, as if to prevent them from "jumping out" and grabbing hold of him. ... In the same way that...
- Word Count: 1436
- Approx Pages: 6
6. A Glimpse of the Bible from the Song of Songs
a) Lily: The image of lily in the Bible is fragrant, pure, white, delicate and lively. ... A lily is beautiful while thorns are ugly. ... Among thorns, the lily is very likely to be hurt. ... Here the lilies symbolize life. ... Lilies taste sweet, but myrrh tastes bitter. ...
- Word Count: 3099
- Approx Pages: 12
7. My Day of New Year
My friends Lily Tran, Vi Nguyen and Hong Nguyen decided that I should not spend New Year's Day alone. ... They decided to plan a trip to the Saigon Water Park, about half hour's drive from Saigon, and Vietnam New year dinner afterward. ... The drive to the Saigon Water Park reminded me of "Mr. ... It was really great when we arrived at the Saigon Water Park, which water around the park. ... They love to swimmy and hiking under water. ...
- Word Count: 677
- Approx Pages: 3
8. Sinking into dillard's essay
On the wild side, steers will come in winter; and water lilies will blossom in summer. The scene of Hollins Pond will change according to seasons, and water lilies can be the floor for black birds and the ceiling for fish. ...
- Word Count: 560
To Paint A Water Lily Analysis
“To Paint a Water Lily” by Ted Hughes is a poem that explores the beauty and fragility of nature. The speaker describes the process of painting a water lily, and how the delicate flower is transformed into art.
The poem begins with the speaker describing the scene before them: a water lily floating on a pond. The speaker watches as the lily opens up to the sun, and notices the delicate petals and the way the light reflects off of the water.
The speaker then describes the process of painting the lily. They start by sketching the outline of the flower, and then fill in the colors with care. The speaker pays attention to every detail, from the shadows cast by the petals to the highlights on the water.
As the speaker paints, they think about how fragile and fleeting this moment is. The lily will eventually wilt and die, but in this moment it is perfectly preserved in art.
“To Paint a Water Lily” is a poem that celebrates both nature and art. It shows how beauty can be found in the simplest things, and how art can help us appreciate the fragile beauty of life.
In Ted Hughes’ “To Paint a Water Lily,” the speaker examines the numerous complexities of nature by revealing the obstacles he faces as an artist in capturing its genuine significance. He sees a thrilling little realm of continual motion and activity hidden beneath the pond’s tranquil stillness, when he looks at it.
To the speaker, these lilies are like “white ghosts / That haunt the green and stirring depths.” He must confront his own preconceptions about beauty and art in order to create a work that accurately reflects the natural world.
The speaker uses vivid language to describe the water lilies and the pond they inhabit. The lilies are “like white ghosts,” which suggests that they are not really part of the natural world. They are haunting reminders of the artificiality of art. The pond is “green and stirring,” which makes it seem alive and full of potential. The water lilies float on the surface of this “living” pond, but they are separate from it. This separation is what the speaker must overcome in order to create a true work of art.
The speaker must confront his own preconceptions about beauty and art in order to create a work that accurately reflects the natural world. He must find a way to bridge the gap between the “white ghosts” of the water lilies and the “green and stirring” depths of the pond. Only then will he be able to paint a water lily that is truly alive.
To paint the water lily and do it righteously, Ted knows that he must do more than simply describe the plant; he must also capture its setting. The energy with which the speaker depicts this incredible task, as well as his profound respect for nature’s magnificent complexity, is demonstrated through tone, phrase choice, imagery, diction and figurative language.
The title To Paint a Water Lily creates an interesting dichotomy because on one hand, the speaker is To painting the water lily and on the other, he is To painting the water lily in its natural environment. The title sets up a collision of opposites and suggests that the painting will be about more than just the plant.
The poem opens with the speaker describing how he must “paint” the water lily. The word “paint” is significant because it suggests that the speaker must not only capture the physical appearance of the plant, but also its essence. The word “paint” also has connotations of artistry and creativity, suggesting that the speaker views his task as a challenging one.
The speaker begins by describing the water lily as a setting for the activity that takes place around it. He describes “a green level of lily leaves” that “reefs the petal’s chamber and paves the flies’ furious arena,”–a cover for the event below and a ground for the action above. The image depicts nature as a complicated body with layers that extend beyond its apparent inactive surface according to the speaker.
The poem To Paint a Water Lily was written by Ted Hughes. In the poem, the speaker begins by introducing the water lily as a stage for the activity that goes on around it. He describes “a green level of lily leaves” that “reefs the petal’s chamber and paves the flies’ furious arena,” a cover for the activity below and the ground for the action above. The picture establishes the speaker’s view of nature as a complex body with layers that reach beyond its seemingly inactive surface.
The speaker goes on to describe how “the blackflies / weave their curtains in the air / over this green theatre,” providing both contrast and movement to the scene. The “blackflies” are described as being “like bits of charcoal / Puffed from a forge,” giving them a sense of heat and energy. Their movements are described as “curtains,” which suggests both the physical barrier they create and the way in which they divide the space.
The speaker then shifts his focus to the water lily itself, describing it as “A white face / Upturned to the sky / To catch the sun.” The image of the water lily is one of stillness and peace, in contrast to the frenetic activity of the flies. The lily is described as being “upturned,” which suggests both its vulnerability and its willingness to receive the light of the sun.
The poem ends with a shift in focus back to the flies, which are described as “Like bees / Bumbling in the white petals / To make their honey.” The image of the bees shows the way in which even these creatures, which are often seen as pests, can be beautiful and beneficial. The poem To Paint a Water Lily is Ted Hughes’s exploration of the hidden beauty and complexity of nature.
The language the speaker uses to describe the lily leaves, highlighted by alliteration and delicate imagery, also conveys his or her awe for nature’s “outward appearance,” which is reflected in the face it shows most plainly to casual view. The speaker personifies nature by referring to it as a “lady” with “two minds,” implying those that exist above and below its surface.
Ted Hughes To Paint a Water Lily is a poem about, surprisingly, painting a water lily. But it’s also about so much more than that. To paint a water lily is to try and capture the ephemeral nature of beauty, something that is here one moment and gone the next. The speaker in the poem tries to do just that, using language that is at once beautiful and evocative.
The first stanza of To Paint a Water Lily begins with the speaker describing the process of painting a water lily. He talks about how one must prepare the canvas first, making sure that it’s clean and free of any blemishes. Only then can one begin to paint the delicate petals of the flower.
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- 10 Lines on Lily Flower/Water Lily in English for School Students
Here we have got 10 lines on lily flower in English for students of all classes. I am sure that these lines will be helpful in your study.
In This Blog We Will Discuss
10 Lines on Lily Flower in English for Class 3, 4, 5, 6
1. Lily is a white flower that looks very beautiful.
2. This flower is usually used as a symbol of peace.
3. The fragrance of this flower is really beautiful.
4. You can find lily flowers worldwide.
5. There are different types of lilies, like trumpet lilies and tiger lilies.
6. It is possible to grow them indoors or outdoor in both places.
7. It looks very bright and beautiful.
8. Normally this flower blooms in the summer season only.
9. In some regions, people eat this flower. It tastes pretty delicious.
10. Sometimes it is also used in medicine.
10 Lines on Water Lily in English for Class 7, 8, 9, 10
1. The history of lily flower is pretty rich. To learn more about this flower, you have to go a couple of hundred years back.
2. This flower has some religious significance and it has been discussed about this flower in almost every religion.
3. There are different colored lilies available. Among them, the white lily is widely known and seen in the world.
4. Orange lilies are also widely known. They are very beautiful and that’s why they are also known as ‘Tiger Lily’.
5. This beautiful flower is a sign of purity and beauty.
6. Lots of people use lily as a flower gift.
7. When someone looks at a white lily, it feels peace and unity.
8. Only white lily and tiger lilies have a beautiful smell. Other types of lilies are odorless.
9. Pollen of water lily is very dangerous for cats. It could be poisonous for cats only.
10. The water lily is a very beautiful flower.
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