Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th and 20th century artists.

He co-founded the Fondation Wildenstein in 1970 (it was renamed the Wildenstein Institute in 1984), and was a prime mover in many exhibitions of international repute. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He edited several international journals, e.g.

From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London and Tokyo. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.ĭaniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!” who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.Along with Turner, no artist has sought more than Claude Monet (1840–1926) to capture light itself on canvas. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. It could be said that Monet reinvented the possibilities of color. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas.

The triumph of impressionism