I’m not saying I love Monet, but someone mentioned to me there were Monet posters for sale at Norris and I sprinted there instead of getting lunch like I meant to.

So, actually, I am saying I love Monet. I love his work, like, a lot.

But that being said, I am, by no means whatsoever, an expert on him or his works. I may be discussing his series Vétheuil, but that doesn’t mean I know how to pronounce that word whatsoever. I’ve taken a single painting class that formed all of my knowledge regarding oil painting and color theory. By no means do I fit into Mendelsohn’s pretty equation; my judgments are completely lacking in meaning. But I do know that this series of Monet’s is incredibly aesthetically pleasing, both as a whole and in its individual pieces, so I’m going to take my mediocre knowledge and simple taste and serve you up some lukewarm judgment.

Vétheuil was a Parisian town in which Monet resided for a few years. The two pieces I’ve selected (both helpfully entitled Vétheuil… thanks, Monet) are from different times of his life. The first painting, which I am going to refer to as 1, was painted during Monet’s time in Vétheuil, while the second (which will be 2) was notably painted two decades after the first. My selection for examination was mostly arbitrary (and, frankly, mostly based on my aesthetic ‘taste’), but I did keep in mind the long gap between installments in this series when selecting pieces.

Monet’s Vétheuil (1)

Upon first looking at 1, I was immediately struck by how simply pleasant the painting is. The color palette is delightfully soft yet vibrant, and the gentle speckling of the reflection in the water offers a peaceful tranquility to the scene. But with closer inspection you can note that the colors do not blend as effortlessly as your eyes would have you believe. Instead, Monet chooses to highlight the water’s reflection with a stark, cadmium red, which warrants the effect of light hitting the water as well. The lines of the buildings aren’t solid but shaky, and but instead of appearing sloppy, the exact coloring Monet chooses results in the lines appearing as soft shadows. Combined with these smart color choices are Monet’s purposeful brush strokes. Rather than use any long strokes, like the smooth and easy painting would suggest, each stroke is a short, quick block.

All of Monet’s smart and stark individual choices allow for a smooth and cohesive piece. Interestingly, he throws these choices to wind with his later installment.

Monet’s Vétheuil (2)

In 2 we see both a more blurrier landscape as well as a crisper reflection, an interesting flip. The buildings and hills are made up of lines reminiscent of cross stitching, and palette more limited and true to the eyes’ first instinct. 2 takes the warmth and charm of 1 and strips it of its reality, creating a dreamlike village full of purples and teals. It’s hazier, yet prettier (by my eyes, anyway).

I find these differences to be quite telling when one remembers the time difference between one another. Monet went on with his life after living in Vétheuil, and by the time he returned to this series his memory had been long altered by nostalgia, as all memories are. Perhaps this is why 2 loses the clarity 1 had so expertly created and instead emits that nostalgia Monet may have towards his old town.

By examining pieces near the beginning and end of this series, we glean a little insight into Monet’s life– or at least, we think we do. Whether or not our conclusions are correct is moot point, as far as I’m concerned. If I wanted to know Monet’s life, I would have done a simple Google search ages ago. But why ruin the fun of dissecting of my favorite painter’s work with facts when my our own conclusions are just as entertaining? And if you disagree, well, you have Google just as I do. And besides, I warned you about this article’s lukewarm temperament.