Monet’s landscape “The Road to Chailly” (better known as “The Road to Bass Bro, Fonteblo”) has a realistic style of writing. All the strokes on the canvas fall clearly and clearly, although they have different density of application. From the left corner of the canvas into the forest leaves the road.
The autumn forest that has surrounded it on both sides is still full of vitality and solar confidence. After all, autumn has already touched with a brush not only the tops of the trees, the yellowed and fallen leaves are visible on the ground, even the bushes on the right side are colored, but the sun still brightly illuminates the pale strip, the forest road running away into the distance, and the sad trees in the forest. This is a marvelous combination of a bit dull forest autumn calmness, even pacification, which, as if cut off by a gray ribbon of the road, evokes slightly sad notes and memories of the passing summer.
When creating this landscape, Monet uses mostly pale shades of green and brown, slightly diluted with yellow, the lively saturated green is visible only on the grass in the right-hand corner of the picture. But with the help of bright sunlight falling on the picture, as if from somewhere above, the landscape turned out surprisingly bright and even lively. The sky at the same time has a pale – gray color, which usually creates a rather gloomy mood on the canvas. But not in this case.
And the gray shades hanging from the top of the cold sky, and the same color of the trees in the distance, as if an alarming reminder that winter is already very close. But this, one might say, semantic contrast of colors on the painter’s canvas still inspires optimistic notes that all is not lost, and such bright autumn days should be used. Due to this, the visual picture is not perceived as a gloomy autumn landscape, rather, as a reminder of summer.
This is one of Monet’s landscapes, which were used to create his famous composition “Breakfast on the Grass”.