Comparing art through a Marxist Lense

Jamie Powell
July 19, 2023
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When looking at art through a Marxist lens we consider the economic impacts of when a

piece was made. Bringing into question the lifestyle of a painter who can learn and create works

of art. By applying this view to two different works from separate cultures we can start to see

that even though we are different we have similar structures in society. This paper will compare

Claude Monet’s impressionist painting “The Artist’s Garden at Vétheuil” (fig. 1) made in 1881

to the Japanese painting “Palace Landscape” (fig.2) by Tani Buncho made in the early nineteenth

century and show that even though these two works of art come from different cultures they

show a similar path in society. The path of an artist is to study and refine techniques and bring

beauty to the world using color and shapes. Despite differences in style and materials, each area

of the world brings something new to consider. This shows us that despite our culture an artist’s

life is one of learning the skills of their time and using those to bring works of art to life.

“The Artist’s Garden at Vétheuil” (fig. 1) by Claude Monet is a landscape painting of a

home Monet lived at in Vétheuil 1. The first thing our eyes are drawn to is the beautiful garden of

yellow and red flowers. Monet painted this in an impressionist style using quick strokes to show

light and color. All the flowers are tall and reaching to the sky and directing your gaze towards

the staircase in the center that leads to the house that sits above it all. This could lead to a

representation of a natural escape from society and a place of calm. Knowing that this painting is

of a place Monet lived in personally also tells us about his status in society. He was able to afford

to live in a home with lands, gardens, and the space to use as an outdoor studio.

Looking at this Monet painting through a Marxist lens we start to wonder about Monet

and his standing in society. How was Monet able to afford to spend so much time and materials

1
“About the Collection.” Norton Simon Museum, January 1, 1881.
https://www.nortonsimon.org/art/detail/F.1975.09.P/.
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on landscape paintings? During the time of this painting Monet was sharing the house in this

painting with its owner, a store owner who was a patron of the arts. 2 In this point in his life

Monet had earned enough renown within the art communities to be able to paint as a living. He

was also able to explore beyond the current refined views of art and help found the

impressionistic style that he is so well known for today. In Monet’s lifetime he had the means to

travel and live in many locations as well as keeping materials and high-quality oil paints to

continue his work throughout his career.

Oil paintings were considered high class art because of the pigments and supplies

required to complete such works of art. Lower-class families did not often have such works of art

in their homes nor the means to learn how to use oil paints as a medium. If he had been of a

lower class, he may have been confined to sketches of charcoal or pencil in whatever spare time

he had. This would most likely have led to his talent being lost to time and overlooked. Because

his father ran a store, and his mother was a singer, this gave Monet’s parents the means to be

able to send him to art school. He was fortunate enough to have the means to be able to allow his

talents to grow and become a renowned artist as well as a founder of the impressionistic art style.

As we look at Tani Buncho’s “Palace Landscape” (fig. 2) painted in the early nineteenth

century we see a vast mountainous landscape with a palace among the mountains. The lands

reaching into the clouds could be seen as showing a high status. There are two palaces within the

painting that when looked at closely show us daily business within palace. Below the palace we

also see a few people scattered at the bottom of the image going about their day as well. We are

2
“Claude Monet Biography in Details.” Claude Monet Biography with All Details. Accessed July 21, 2023.
https://www.claudemonetgallery.org/biography.html.
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left to wonder if these people belong to the palace courts or if they are of a lower class because

they are placed lower in the image and because they are separate from the people of the court.

Marxism brings into question the life of Tani Buncho and his place in society if he was

commissioned to paint the palace life in this era of Japan’s history. Buncho was a Japanese

painter who studied in the techniques of Chinese, Japanese, and western arts. He went on to form

a school that taught all these techniques. 3 Though not much information can be found about this

piece or the creator we can see that he probably held a high standing in society because he was

asked or able to paint scenes of palace court life.

Looking at the materials involved we have woven silk of high quality for the canvas. The

painting is done with colored inks, with fine brushes. Learning the techniques required to paint

on silks with ink requires time, skill, and patience. Being able to learn such practices shows us

that Buncho was in a place in society that valued these skills and had the means to become a

student of this art and eventually become a master in his own right.

When we compare these images side by side with a Marxist lens an art historian may see

that though both images were made in vastly different fashions, they both show an individual

that was able to spend their days honing their skills and becoming well known in their field.

Monet’s Travels and renown in western society can show how he was able to maintain the

lifestyle of a painter while pushing the boundaries of art and being a key figure in the

impressionist style coming to life. Buncho was able to learn different techniques and form a style

of Japanese art that combined elements of Chinese, Japanese, and the western arts.

Two men from two separate cultures show a similar journey in their art of learning and

becoming well known for the progressive art styles they developed. Though western art patrons

3
Britannica, T. Editors of Encyclopaedia. "Tani Bunchō." Encyclopedia Britannica, January 2, 2023.
https://www.britannica.com/biography/Tani-Buncho.
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of the times these were made may have considered the impressionist and non-western art styles

as less refined, we can see that there is skill and style that make each of these works of art

incredible. This helps show us that even though these two works of art come from different

cultures they show a similar path in society. The path of an artist is to study and refine

techniques and bring beauty to the world with color and shapes. Despite differences in style and

form, each area of the world brings something new to consider.

Figures / Images
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Figure 1. Claude Monet, French, 1840-1926. The Artist’s Garden at Vétheuil. 1881. Oil on canvas, 39-
1/2 x 32 in. (100.3 x 81.3 cm). Norton Simon Museum of Art at Pasadena; The Norton Simon
Foundation. https://jstor.org/stable/community.22372358.
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Figure 2. Tani Buncho (Japanese, 1763–1840). Palace Landscape. early 19th century. Hanging
scroll; ink and color on silk, 64 15/16 × 44 3/4 in. (165 × 113.6 cm); Overall with mounting: 94 5/16 ×
50 3/4 in. (239.6 × 128.9 cm); Overall with knobs: 94 5/16 × 55 1/4 in. (239.6 × 140.3 cm). Palace
Landscape [1977.445]. The Metropolitan Museum of Art.
https://jstor.org/stable/community.18664874.
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Bibliography

“About the Collection.” Norton Simon Museum, January 1, 1881.

https://www.nortonsimon.org/art/detail/F.1975.09.P/.
“Claude Monet Biography in Details.” Claude Monet Biography with All Details. Accessed July
21, 2023. https://www.claudemonetgallery.org/biography.html.
Britannica, T. Editors of Encyclopaedia. "Tani Bunchō." Encyclopedia Britannica, January 2,
2023. https://www.britannica.com/biography/Tani-Buncho.
Claude Monet, French, 1840-1926. The Artist’s Garden at Vétheuil. 1881. Oil on canvas, 39-1/2 x 32 in.
(100.3 x 81.3 cm). Norton Simon Museum of Art at Pasadena; The Norton Simon
Foundation. https://jstor.org/stable/community.22372358.

Tani Buncho (Japanese, 1763–1840). Palace Landscape. early 19th century. Hanging scroll; ink and
color on silk, 64 15/16 × 44 3/4 in. (165 × 113.6 cm); Overall with mounting: 94 5/16 × 50 3/4
in. (239.6 × 128.9 cm); Overall with knobs: 94 5/16 × 55 1/4 in. (239.6 × 140.3 cm). Palace
Landscape [1977.445]. The Metropolitan Museum of Art.
https://jstor.org/stable/community.18664874.