Close Window Print Page

Lines of Colour: Monet and Modernism

18 May 2007

In the Reynolds Room, a John Madejski Fine Room

Reynolds Room; 6.30-7.30pm; £14/£6* (includes lecture, exhibition entry and a drink), £10 (includes lecture and a drink)

For information or to book:
Telephone 020 7300 5839
Fax booking form to 020 7300 8013
Post booking form to:
Events & Lectures, Royal Academy of Arts
Burlington House, Piccadilly
London W1J 0BD

Download an events booking form (39 KB)
Download an events booking form in Word format (43 KB)

*Reductions are available for students, jobseekers and disabled persons with recognised proof of status.

The uneasy dialogue between line and colour in Monet’s art can now be seen as part of a much wider phenomenon. Richard Kendall, Curator at Large at the Sterling and Francine Clark Art Institute, demonstrates that by exploring Monet’s periodic use of drawing and pastel in relation to the development of his painting, up to and including the last of the water lily pictures, we encounter one of the great debates that engaged the generation of Matisse and Picasso and later the American Abstract Expressionists.

Academy Shop

Show photo credits

Joan Miró, The Birth of Day 1 (Naissance du jour 1), 1964. Oil on canvas, 146 x 113.5 cm. Fondation Marguerite et Aimé Maeght, Saint-Paul. Photo © Galerie Maeght.
© Succession Miró/ADAGP, Paris and DACS, London 2008.

 

The Antioch Chalice, Byzantine, from Syria, possibly Kaper Koraon or Antioch, first half of the sixth century. Silver cup set in footed silver-gilt shell, Height 19. 7 cm. Lent by the Metropolitan Museum of Art, New York. The Cloisters Collection, 1950 (50.4). Photo © The Metropolitan Museum of Art