Chicago - that "Paris on the Prairie," with its lake views and its boulevards, its speculative buyers, its French past and its lily ponds - has been enthralled by Monet for a century. It seems somehow correct that it's Chicago's show alone. ![]() The Art Institute's thronged display, arranged by Charles F. They love him in Chicago, too, perhaps more than anywhere. No other exhibition at the MFA, founded in 1890, has drawn so many visitors. He's our old friend Claude Monet, the impressionist par excellence, the master of the glimpse.įive years ago in Boston, when the Museum of Fine Arts showed his strobelike series paintings - the haystacks, the cathedrals - 537,000 people stood in line to drink them in. He's the Santa Claus-shaped sage, gardening at Giverny, and then, in his full age, he's the magisterial muralist, whose final old man's style is as free as Titian's. He's the 1890s pro, seizing serial instants. ![]() He's the 1860s Paris rebel, blasting the high polish of pompous Salon painting with sketchiness and color. Not Rembrandt and not Rockwell, perhaps no one but van Gogh, pulls crowds the way Monet does. "Claude Monet: 1840-1926," this summer's retrospective at the Art Institute of Chicago, is, of course, a hit.
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