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Lot Essay
En avril 1883, désireux de mettre fin à ses voyages épuisants, Monet décide de quitter sa maison à Poissy et de rechercher une résidence stable. Ainsi, le 29 avril, le peintre et ses deux enfants (Alice Hoschedé arrivera le jour suivant), s'installent à Giverny. Reposant sur les collines de la rive droite de la Seine, à quatre kilomètres en amont de Vernon, Giverny séduit Monet dès l'instant où il pose les pieds dans sa nouvelle maison qu'il a pu payer grâce aux achats et aux prêts financiers de Paul Durand-Ruel.
En janvier 1885, une neige abondante tombe sur Giverny. La campagne offre un thème idéal à l'artiste qui se met immédiatement au travail. Selon le témoignage de Paul-Durand-Ruel, le temps était resté stable pendant plusieurs jours. Monet, envahi par un sentiment d'impatience face au besoin de travailler à la hâte. En dépit de ses frustrations, Monet réalise neuf peintures au cours de cette brève période, dont le présent tableau (W. 961, 962, 962a-968). Comme à son habitude, il les retouche tout au long de l'année. Ce n'est qu'en janvier 1886 qu'il se montre satisfait de cette série et qu'il la considère comme achevée.
In an effort to bring his exhausting travels to a halt, in April 1883, Monet decided to leave his home in Poissy in search of a permanent residence. So it was that on 29 April, the painter and his two children (Alice Hoschedé was to arrive the following day) moved to his chosen village: Giverny. Lying on the hills of the right bank of the Seine, four kilometers upstream from Vernon, Giverny seduced Monet from the moment he set foot in his new house, which he could pay for thanks to the purchases and financial loans by Paul Durand-Ruel.
In January 1885, snow fell heavily over Giverny. The countryside under snow provided a superb subject for the artist, and he immediately set to work. As Paul Durand-Ruel recounted of Monet's struggles, the weather remained stable for several days, but Monet's sense of impatience and dissatisfaction, so frequent a reaction to the need to work hastily, was again to the fore. Despite his frustration, Monet was able to produce nine pictures in that short period, including the present work (W. 961, 962, 962a-968). As was typical of his painting method, Monet continued to work on these views throughout the year. Finally satisfied with the series, he considered the paintings finished only in January 1886.
Collection privée, Paris.
En janvier 1885, une neige abondante tombe sur Giverny. La campagne offre un thème idéal à l'artiste qui se met immédiatement au travail. Selon le témoignage de Paul-Durand-Ruel, le temps était resté stable pendant plusieurs jours. Monet, envahi par un sentiment d'impatience face au besoin de travailler à la hâte. En dépit de ses frustrations, Monet réalise neuf peintures au cours de cette brève période, dont le présent tableau (W. 961, 962, 962a-968). Comme à son habitude, il les retouche tout au long de l'année. Ce n'est qu'en janvier 1886 qu'il se montre satisfait de cette série et qu'il la considère comme achevée.
In an effort to bring his exhausting travels to a halt, in April 1883, Monet decided to leave his home in Poissy in search of a permanent residence. So it was that on 29 April, the painter and his two children (Alice Hoschedé was to arrive the following day) moved to his chosen village: Giverny. Lying on the hills of the right bank of the Seine, four kilometers upstream from Vernon, Giverny seduced Monet from the moment he set foot in his new house, which he could pay for thanks to the purchases and financial loans by Paul Durand-Ruel.
In January 1885, snow fell heavily over Giverny. The countryside under snow provided a superb subject for the artist, and he immediately set to work. As Paul Durand-Ruel recounted of Monet's struggles, the weather remained stable for several days, but Monet's sense of impatience and dissatisfaction, so frequent a reaction to the need to work hastily, was again to the fore. Despite his frustration, Monet was able to produce nine pictures in that short period, including the present work (W. 961, 962, 962a-968). As was typical of his painting method, Monet continued to work on these views throughout the year. Finally satisfied with the series, he considered the paintings finished only in January 1886.
Collection privée, Paris.