That icky bad white stuff started falling from the sky once again about a half hour ago. Fortunately it’s coming down light versus a heavy fall. I stood there watching the snow flakes and pondered where most of the color has gone. Grey skies. Cold temps. An even colder breeze. Icky bad stuff coming out of the skies. Mid-January in central Minnesota.
My ever faithful Chickadees and Sparrows are flitting back and forth on the bare branches of my Flaming Red Burning bushes to my Crab Apple trees to the bird feeders. I stuck my head out the door and a Chickadee chastised me for disturbing it’s peace. It sang out it’s Chick-A-Dee-Dee-Dee song at me to let me know that it wanted me to go back inside and leave it alone so it can feed once again. I refilled the bird bath and went back inside to the smell of fresh baked cinnamon rolls leaving the birds to flit about at their own pace once again.
Yep. It’s a mid-January once again in central Minnesota.
The Magpie (French: La Pie) is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet’s patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet’s girlfriend Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
The Magpie is one of approximately 140 snowscapes produced by Monet. His first snowscape, A Cart on the Snowy Road at Honfleur, was painted sometime in either 1865 or 1867, followed by a notable series of snowscapes in the same year, beginning with the Road by Saint-Simeon Farm in Winter. The Magpie was completed in 1869 and is Monet’s largest winter painting. It was followed by The Red Cape (1869–1871), the only known winter painting featuring Camille Doncieux.
The canvas of The Magpie depicts a solitary black magpie perched on a gate formed in a wattle fence, as the light of the sun shines upon freshly fallen snow creating blue shadows. The painting features one of the first examples of Monet’s use of colored shadows, which would later become associated with the Impressionist movement. Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black. This subjective theory of color perception was introduced to the art world through the works of Johann Wolfgang von Goethe and Michel Eugène Chevreul earlier in the century.