莫奈具有的创造性技法是非常精到的,但是这些技法却被因年久而发黄的清漆和现代的油灰烟尘所产生的灰暗薄膜所吞噬。在这些薄膜底下,美妙的淡紫色和紫罗兰色都变成了灰色,具有非常微妙变化的蓝色则或多或少地都成了单一的绿色。冷暖色调的表现也看不到了,同时也减弱了结构上的对比。画得较流畅的笔触常常被盖上了一层清漆(甚至是一种过量使用的合成清漆),这样就完全失去了画面上那些细微处理的光。更糟的是,陈旧发暗的清漆与烟尘散积在涂得非常厚的颜料空隙里,形成了黑色雀斑一样的斑点,从而影响了画面笔触本身自然 The creative techniques Monet has is very elaborate, but these techniques are engulfed by the dark, long-lasting varnish and the gray, dark film created by modern putty smoke. Under these films, the wonderful lavender and violet are gray, with very subtle changes of blue are more or less into a single green. The performance of warm and cold colors can not see, but also weakened the structural contrast. Painted smoother brushstrokes are often covered with varnish (or even an over-used synthetic varnish) that completely loses the finely-processed light on the screen. To make matters worse, the old, dark varnish and soot dispersed in the very thick paint pigment voids, forming the same spots of black freckles, thus affecting the screen strokes themselves