On Oct. 28, 2023–almost 140 years after the final Impressionist exhibition in 1886–The Nelson-Atkins Museum of Art opened a temporary featured exhibit titled “Monet and His Modern Legacy.” The exhibit is designed for viewers to observe the classic impressionist works by Claude Monet side-by-side with works by American artists who were inspired by his art. In addition to paintings by Monet that are not normally on display in the Kansas City area, the exhibit includes abstract expressionist paintings like “Composition No. 3,” 1959 by Sam Francis and abstractionist paintings by Jean-Paul Riopelle. 

There is a game at the exhibit’s entry where visitors can guess whether a painting is by Monet or an abstract expressionist artist based on close-up photographs of the brush strokes. Guests quickly discover that the elements of the two styles are very similar.

Observing Monet’s “Japanese Bridge,” 1918 alongside “Rashoumon,” 1957 by Norman Bluhm, visitors can see how Monet’s revolutionary use of color inspired Bluhm’s art. The exhibit also showcases “Haystack No. 6 and No. 7,” 1969 by Roy Lichtenstein: two pop art recreations of Monet’s “Wheatstacks (End of Summer),” 1980-91.

On display in the final room of the exhibit is one of the panels from Monet’s famous “Water Lilies,” 1915-26. The room is equipped with several comfortable seats where guests can sit and take in the many colors and strokes in this immaculate artwork. Frequent visitors of the museum who have seen this piece several times before can take a moment to observe this KC favorite in a new light and with a new appreciation. Take a moment to look at the individual brush strokes. Single out the greens, next the yellows, then the purples. Finally, step back to see the work as a whole.

I particularly enjoyed this exhibit because it provides a unique viewing experience of Monet’s artwork while highlighting the relationship between his paintings and the works of those he inspired that would otherwise appear unconnected.

“Monet and His Modern Legacy” is open until Mar. 10. Tickets can be purchased either online or in person at the Museum for 22 dollars or 12 dollars for students. These tickets allow entry into both the Monet and “Evelyn Hofer: Eyes on the City” exhibits. As always, guests can access the rest of the art museum for free. After touring the museum, visitors can find exclusive Monet-themed merchandise such as brightly colored shirts and accessories in the museum’s gift shop.

William Jewell College is often praised for the beauty of its campus buildings. However, not much has been said (at least not in an official capacity) about the campus’ particular artistic features. Sure, the facades of the buildings are impressive, but what of the paintings, vases and other artistic interior decor within those buildings? This article will attempt to undertake a review of some of the iconic art on campus.

Abstract Painting on the Quad Level Floor of Pryor Learning Commons

To preface my discussion with something of a disclaimer: I’m not exactly a fanatic of abstract art. When I do enjoy abstract art, it’s because the piece is accompanied by some additional information, like an essay, that transforms my experience of the art. No longer is that art piece mere irreverent or chaotic brushstrokes, but brushstrokes and chaos harnessed for some specific purpose (however vague).

A good example of this is the Danish art and literature magazine Helhesten, published during the German occupation of Denmark in World War II. Its nonsensical, whimsical and child-like pieces — often accompanied by the artists’ political essays — were a form of protest against Hitler’s concept of ‘Aryan’ art.

In contrast, the abstract painting in the quad level of the PLC is highly decontextualized abstract art. There appears to be no discernible artist signature, though this is difficult to verify because it is placed so high up. Without context or a means of obtaining context by researching the artist, the piece is just random – and random in a highly illogical spot. Why place it so high up? Why choose such a decontextualized, abstract piece?

Both the placement of the piece and inscrutability of its content suggests that the choice of the painting was arbitrary – no more deliberated than the placement of art at a cheap hotel. The painting doesn’t even really complement the red vases which frame it. 

For the record, the vases themselves are a perplexing decoration choice. Lipstick red vases atop an extremely high chimney? They look heavy. Who put them up there, and when?

Abstract Painting in the Second Floor of Jewell Hall

This one is a little better. For one thing, you can actually examine it without craning your neck. Secondly, the faux orange flowers on the table complement the orange tones of the painting (as an aside, I love the faux cattails. I love to see strange hot dog plants). The strategically placed light illuminates a portion of the painting dominated by a half-circle, which creates an interesting ‘halo’ effect.

However, as with the abstract painting on the PLC, there really is no way to obtain more information on the painting – there’s no discernible artist signature. I wonder whether the paintings would attract more of an audience if some kind of signage was created. 

In either case, the painting is a good size and has some amount of visual interest. I’m not entirely convinced I like its strangely ‘dry’ texture, presumably created by applying a small amount of paint on a dry canvas and spreading it thinly. The resulting effect on the color is something that I would call desabrido in Spanish: blanched and without much character. The painting evokes drywall, or perhaps plaster.

Large Art Prints in the Union 

I like these art pieces because they have a lot of life to them – it’s fun to try and track exactly what each of the depicted subjects is doing, and then compare their activity to the other depicted activities. The usage of a faux frame to divide the spheres of activities within the paintings creates some fun confusion about the interrelationships which complicates the activity of frivolous discernment. 

However, I am a little disappointed that closer inspection reveals that the pieces are not originals, but in fact a kind of glossy print of the original artwork. It would be cool to feature some original artworks, and not the prints, given that I think an analysis of art benefits significantly from an examination of the textural properties of the pieces – something which is difficult to analyze in a print of the original work. 

Venus Fly Trap Painting in Brown Hall

Awesome! I love mixed media paintings that recall a pop-up book. This is probably my favorite painting on campus. I wonder if the inside of the Venus Fly Trap is painted as well? Hard to tell, given that the painting is so high up. I think it should be displayed in a more public spot on campus – it’s lonely in that Brown Hall side-staircase.

Photos by Agatha Echenqiue.