ARTISTS
Monet / Fehr: A Bridge, A Field, A Country Without End
Invited by the Mus茅e Marmottan Monet to establish an artistic dialogue with its collections, the Swiss painter Marc-Antoine Fehr has taken two paintings by Claude Monet as his starting point: Le Pont de l鈥橢urope, Gare Saint Lazare (1877) and Champs d鈥橧ris jaunes 脿 Giverny (1887).
Marc-Antoine Fehr focuses on the narrative potential of these paintings, made possible by the instantaneity of Monet鈥檚 vision as he captured these transient scenes, which he painted from life. Playing with this effect, he presents a set of 240 gouaches on three walls of the exhibition space, each measuring 7.5 x 101 cm, with Monet鈥檚 two paintings superimposed on them. Begun in 1999 and appropriately titled Le Pays sans fin (Country Without End), this work, which is carried out anew in each venue, is intended to be continued with no scheduled end.
The artist takes visitors on a journey starting at the Gare Saint Lazare, destination unknown. The landscape rushes by, seen through the train window. Like a traveller who only captures a continuous fragment of what he sees, the visitor is unable to take in the entire artwork in one go. Le Pays sans fin invites us to journey physically and visually through the colours of the painting, catching fleeting glimpses of outlines, deserted buildings and silent natural environments.
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Invited by the Mus茅e Marmottan Monet to establish an artistic dialogue with its collections, the Swiss painter Marc-Antoine Fehr has taken two paintings by Claude Monet as his starting point: Le Pont de l鈥橢urope, Gare Saint Lazare (1877) and Champs d鈥橧ris jaunes 脿 Giverny (1887).
Marc-Antoine Fehr focuses on the narrative potential of these paintings, made possible by the instantaneity of Monet鈥檚 vision as he captured these transient scenes, which he painted from life. Playing with this effect, he presents a set of 240 gouaches on three walls of the exhibition space, each measuring 7.5 x 101 cm, with Monet鈥檚 two paintings superimposed on them. Begun in 1999 and appropriately titled Le Pays sans fin (Country Without End), this work, which is carried out anew in each venue, is intended to be continued with no scheduled end.
The artist takes visitors on a journey starting at the Gare Saint Lazare, destination unknown. The landscape rushes by, seen through the train window. Like a traveller who only captures a continuous fragment of what he sees, the visitor is unable to take in the entire artwork in one go. Le Pays sans fin invites us to journey physically and visually through the colours of the painting, catching fleeting glimpses of outlines, deserted buildings and silent natural environments.
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