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phenomena apparent vanguard exclusively easel
streamed fleeting platform memories lively financial
reality public atmosphere developed
Despite his occasional successes, Monet’s …1… situation did not improve. But he did increasingly enter the …2… eye, and was also perceived as being at the …3… and finally as being a main representative of Impressionist painting.
Around this time he discovered the vitality and splendid colour of city life for himself. Like the English artist Turner, Monet now …4… an enthusiasm for the new technology, which was now …5… everywhere and had a great influence on people's lives. Thus he set up his …6… in the Parisian Gare St Lazare, and in a series of paintings he captured the moments in which powerful steam locomotives reached the …7… and hundreds of people from the suburbs …8… out of the carriages. With the same blurring style, and the same …9…, brightly-coloured contrasts that characterize his landscape paintings, Monet managed to capture the hectic, noisy and confusing …10… of a station hall.
But his true love, more and more, turned …11… to landscape painting. For Monet, landscape paintings were not painted …12… or captured moods within the landscape itself, rather they were to grasp the purely visual, experienced impression of an object or landscape. Monet was not concerned with the 'objective beauty' of things, but mainly with the momentary, …13… impression. He wished to capture the transitory aspect of …14… as in a 'snapshot'. He believed that Impressionist painting depicted the …15… of the moment. In this sense Monet saw his art as Realism.
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Despite his occasional successes, Monet’s 1 financial situation did not improve. But he did increasingly enter the 2 public eye, and was also perceived as being at the 3 vanguard and finally as being a main representative of Impressionist painting.
Around this time he discovered the vitality and splendid colour of city life for himself. Like the English artist Turner, Monet now 4 developed an enthusiasm for the new technology, which was now 5 apparent everywhere and had a great influence on people's lives. Thus he set up his 6 easel in the Parisian Gare St Lazare, and in a series of paintings he captured the moments in which powerful steam locomotives reached the 7 platform and hundreds of people from the suburbs 8 streamed out of the carriages. With the same blurring style, and the same 9 lively, brightly-coloured contrasts that characterize his landscape paintings, Monet managed to capture the hectic, noisy and confusing 10 atmosphere of a station hall.
But his true love, more and more, turned 11 exclusively to landscape painting. For Monet, landscape paintings were not painted 12 memories or captured moods within the landscape itself, rather they were to grasp the purely visual, experienced impression of an object or landscape. Monet was not concerned with the 'objective beauty' of things, but mainly with the momentary, 13 fleeting impression. He wished to capture the transitory aspect of 14 reality as in a 'snapshot'. He believed that Impressionist painting depicted the 15 phenomena of the moment. In this sense Monet saw his art as Realism.