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Claude Monet 1840-1926 BACK


Monet is the quintessential Impressionist and as such his world is exhilarating beautiful. His style is characterized by a light, colorful palette, and he often applied unmixed paints directly onto a canvas prepared with a pure white base in order to enhance the luminosity of each color and increase the broken appearance of the picture. It was at the Salon of 1865 that his paintings of the Seine were very well received and prompted Cezanne to call Monet 'only an eye, but my God what an eye'.

Monet exhibited in 5 of the 8 Impressionist exhibitions and suffered along with the rest of his group from hostility and lack of patronage. The 1880's were prolific years, but years of continued of poverty and depression. Not until 1889 did he have his first successful exhibition. He settled in Giverny in 1883 and except for a couple of trips abroad in his later years spent the rest of his life there. It was in Giverny that he created a lavish garden arranged elaborately with plants and flowers. This is where he created his famous water lily series of paintings. Monet who said he 'feared the dark more than death', died blind.


An excerpt form Monet by Trewin Copplestone:
Monet usually painted on standard-sized canvases with a white priming, a break from earlier tradition, in which forms and tones had been built up from dark to light on a dark-toned ground. However, although he said in 1920 that he "always insisted on painting on white canvases, in order to establish on them my scale of values," this state- ment is not entirely true; in fact he used a wide range of mid-toned primings, often a warm beige or light gray. From about 1860 the color of these primings became an element in the paintings, with small areas either being left unpainted or very lightly covered.

Monet always stood up to work, whether outdoors or in the studio, and he never believed his paintings were finished, frequently reworking them in the studio in spite of his often-stated belief in instantaneity. Except in the earlier works he did little or no under drawing or tonal under painting, beginning each painting with colors approximating to the finished ones, and working all over the canvas at the same time with long thin bristle brushes. His brushwork varied from painting to painting as well as through the course of his long career, but one of the main characteristics of his work, and of other members of the group, is the use of what is known as the tache, the method of applying paint in small opaque touches, premixed on the palette with the minimum of mixing medium. This provides a patchwork-like fabric of all-over color, described by Zola as an ensemble of delicate, accurate taches which, from a few steps back, give a striking relief to the picture."



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Chronology



Image List

The Picnic, 1865

On the Banks of the Seine, Bennecourt, 1868

La Grenouillere, 1869

Windmills Near Zaandam, 1871

Impression Sunrise, 1872

The Seine at Petit Gennevilliers, 1872

Pleasure Boat, Argenteuil, 1872

Boulevard Heloise, 1872

Regattas at Argenteuil, 1872

Poppies, near Argenteuil, 1873

The Red Hood, 1873

Artists House at Argenteuil, 1873

Houses on the Edge of the Field, 1873

The Studio Boat, 1874

Woman with Parasol, 1875

The Studio Boat, 1876

Gare St-Lazare, 1877

The Turkeys at Montgeron, 1877

Camille on Her Deathbed, 1879

Vetheuil in the Fog, 1879

Meadow Outside Vetheuil, 1879

The Wheat Field, 1881

Water Lilies 1897

Water lilies, Water Landscape, Clouds, 1903

Yellow and Mauve Irises, 1924




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This listing of artists is not official. It is merely intended to group the artists in an easy to navigate format.

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