In the first Impressionist Exhibition in 1874 in Paris, however, Monet showed seven of his pastels, their research shows, but they were not included in the catalog or mentioned by any critics. "It's one of the puzzles in Monet scholarship," Kendall said, adding that Monet "takes it up again in the 1880s, and for two weeks in 1901 when he went to London and his canvases didn't arrive."
He added, "He wanted to work, so he made pastels of London bridges and rivers."
Of 26 pastels that can be dated to that time, six will be in the exhibition, along with two paintings, of the Waterloo Bridge (1901) and Charing Cross Bridge (about 1900).
Like van Gogh, Monet also created works on paper based on actual paintings. "He wasn't consistent, but had many different manners of drawing," Ganz said, adding: "A lot had to do with his public-private issue. Some, that were sketchy, were meant only for his private use, while others, more in the style of his paintings, were finished works in themselves."
Ganz said he thought the most surprising drawings were those related to the water-lily paintings. Minimalist in style and not pretty like the paintings themselves, these drawings, in black, white and violet crayon, can best be described as agitated, abstract and almost Expressionistic.
"He never meant for the public to see them," Kendall said, adding: "It all comes back to marketing. His public image was important to him, and drawings complicated that picture. In fact, they even contradicted it."
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