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Claude Monet
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Claude Monet was a founder and central figure of the 19th century art movement known as Impressionism. Early in his career, Monet painted realistic landscapes, but after the 1870s he focused more on the effect of changing light on everyday objects. Often he painted multiple studies of the same subjects, from train stations and haystacks to the London skyline, the Rouen Cathedral and, most famously, water lilies. During the Franco-Prussian War (1870-71) Monet fled from Paris to England, where he formed friendships with Camille Pisarro, Auguste Renoir and other figures central to Impressionism. He returned to Paris at the end of the war, but ended up settling in Giverny, where he began a long series of paintings of haystacks (or grainstacks) during the 1890s. Monet's Impressionistic paintings sold well and his financial success allowed him to purchase property in Giverny, where he built a large garden that became the subject of his series Water Lilies (1906-26).
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Claude Monet was a successful caricaturist in his native Le Havre, but after studying plein-air landscape painting, he moved to Paris in 1859. He soon met future Impressionists Camille Pissarro and Pierre-Auguste Renoir. Renoir and Monet began painting outdoors together in the late 1860s, laying the foundations of Impressionism. In 1874, with Pissarro and Edgar Degas, Monet helped organize the Société Anonyme des Artistes, Peintres, Sculpteurs, Graveurs, etc., the formal name of the Impressionists' group. During the 1870s Monet developed his technique for rendering atmospheric outdoor light, using broken, rhythmic brushwork. He received little but abuse from public and critics alike, who complained that the paintings were formless, unfinished, and ugly.
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Claude Monet had, apart from painting... another passion: gardening. In fact Monet even combined these two passions by making paintings of his gardens. The last ten years of his life, Claude Monet spent most of his time painting his own water garden.
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In 1870, Claude Monet married his wife, Camille, and the two traveled to London and eventually settled at Argenteuil. His best-known, most popular works were produced during this time at Argenteuil, where he often painted alongside Renoir, Sisley, Caillebotte, and Manet. Monet regularly exhibited his paintings in the private Impressionist group shows, which first took place in 1874. During that first show his painting Impression: Sunrise (1872) inspired a hostile newspaper critic to call all the artists "Impressionists," a name that persists to characterize the artistic movement today.
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In the late 1860s, Claude Monet (1840-1926), Pierre-Auguste Renoir (1841-1919) and others painted in a new style, called Impressionism by contemporaries. The name was first used by critics, viewing a new exhibition held in 1874, and was directed precisely — and derisively — at a painting by Monet of a harbor at dawn, which he titled Impression: Sunrise. This painting is a striking example of the new style. How did Monet achieve the effect in this particular painting?
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Claude Monet, the leader of the Impressionist movement, was born in Paris, France, but spent his youth in Le Havre, beginning his career as a caricaturist. In 1858 and 1859, Monet painted outdoors under the guidance of Jongkind and Boudin, both of whom were interested in the effects of light upon objects and capturing various atmospheric conditions. In 1860, Monet went to Paris, France to study at the Académie Gleyre, where he met Pierre Auguste Renoir, Alfred Sisley, and Jean Frederic Bazille. The four young men, as well as Camille Pissarro and Paul Cezanne, met frequently with Edouard Manet at the Café Guerbois, and it was from these conversations and associations that Monet began to develop his own theories of painting. From 1865 to 1971, he developed the luminous style that is most closely associated with the Impressionist movement. Technically, the Impressionist style results from the application of paint to white canvas in clear colors taken directly from the tube, and the technique is based upon the observation that objects take on color from surroundings, from varying lights, and from objects placed near them.
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