Claude Monet

As the leader of the French Impressionist movement, Claude Monet played a pivotal role in shaping the movement and coalescing its adherents. Monet's paintings, which portrayed the same subject at different times of the day, exemplified his mastery in capturing the effects of light and atmosphere. His later works showed a high level of abstraction, making him a significant influence on subsequent generations of abstract painters.

Biography of Claude Monet

Oscar Claude Monet, born in Paris, relocated to Le Havre at the age of five. His father, initially a grocer, later ventured into shipping. Tragically, his mother passed away when Monet was 15. The ocean and rugged northern French coastline left a deep impression on him during his formative years, often leading him to escape from school for walks along the cliffs and beaches.

Educated at the College du Havre by a former student of the renowned Neo-Classical artist Jacques-Louis David, Monet's early creativity shone through as he sketched caricatures in his free time, selling them for 20 francs each. This entrepreneurial spirit enabled him to amass a considerable sum from his art sales.

In 1856, a significant moment unfolded for Monet when he befriended Eugène Boudin, a renowned landscape painter celebrated for his depictions of northern French coastal towns. Boudin's influence urged Monet to paint outdoors, revolutionizing his approach to art.

Despite facing rejection for a scholarship, Monet ventured to Paris in 1859 to pursue studies with support from his family. Instead of following the traditional path of a Salon painter at the École des Beaux-Arts, Monet chose the more unconventional route by attending the Académie Suisse. Here, he crossed paths with fellow artist Camille Pissarro.

In 1861, Monet's military service led him to Algiers, a place that profoundly influenced his artistic and personal perspective. Returning home to Le Havre after his service, Monet's artistic growth was further shaped by the mentorship of Dutch landscape and marine artist Johan Jongkind. Subsequently, Monet moved back to Paris, where he joined the studio of Swiss artist Charles Gleyre. Among the students were Pierre-Auguste Renoir, Frédéric Bazille, and Alfred Sisley — all future Impressionists.

By 1865, Monet had two seascapes accepted for exhibition at the Paris Salon. Yet, feeling constrained by the studio environment, he relocated just outside Paris to the outskirts of the Fontainebleau forest. Using his future wife, Camille Doncieux, as his primary model, Monet's ambitious "Women in the Garden" (1866-67) marked a culmination of his earlier work's ideas and themes. Hopeful for its inclusion in the Paris Salon, Monet was disappointed when the painting was rejected, leaving him devastated. The Salon, still adhering to Romanticism, found Monet's style at odds with their preferences. In 1921, to rectify this rejection, Monet compelled the French government to purchase the painting for the significant sum of 200,000 francs.

Fleeing the Franco-Prussian War in 1870, Monet sought refuge in London, where he created numerous works such as "Westminster Bridge" (1871). Accompanied by his wife and their newborn son Jean, he immersed himself in London's museums, drawing inspiration from artists like John Constable and J.M.W. Turner, whose romantic naturalism left a mark on his use of light. Notably, he crossed paths with Paul Durand-Ruel, the proprietor of a new modern art gallery on Bond Street. Durand-Ruel emerged as a significant supporter of Monet, Pissarro, and later Renoir, Degas, and other French Impressionists.

Upon returning to France post-war, Monet settled his family in Argenteuil, a suburb of Paris nestled along the Seine River. Over the following six years, he honed his style, capturing the evolving town in more than 150 paintings. His presence in Argenteuil also drew in Parisian acquaintances, including Renoir and Manet. Despite Manet's seniority by a decade and earlier success in the art world, the 1870s saw a mutual influence between the two artists. By 1874, Monet had successfully persuaded Manet to embrace plein-air painting.

Continuing their resistance against the salon system, Monet and his friends organized their independent exhibition in 1874, hosted in the former studio of photographer and caricaturist Nadar. This historic event marked the inception of the first Impressionist exhibition. Monet with artists such as Renoir, Degas, and Pissarro spearheaded this movement, collectively responding to the evolving landscape of their city. Monet's 1873 piece, "Impression, Sunrise," inadvertently lent its name to the movement, even though initially, critics used this name as a critique of such works.

By 1877, the Monet family had settled in the town of Vétheuil alongside Alice Hoschedé and her six children. The Hoschedé family were not only close friends but also patrons of Monet's art. Unfortunately, the Hoschedé husband's business collapsed, leading to his abandonment of the family. Consequently, Monet had to seek out an affordable home for the extended household. In 1878, Camille gave birth to their second son, Michel. Tragically, Camille passed away just a year and a half later, prompting a shift in Monet's artistic focus towards capturing the fleeting essence of time and the transformative influence of atmosphere and personality on his subjects. Alice continued to reside with Monet, eventually becoming his second wife in 1892 after Ernest Hoschedé's passing.

In 1883, with Alice and their combined eight children in mind, Monet set out to find a suitable home. He stumbled upon a property in the quiet village of Giverny, home to a mere 300 inhabitants. Enamored by the house and its accompanying garden, Monet initially rented the property. He became enamored with a house and garden, which he rented initially, and later purchased (and significantly expanded) in 1890.

Giverny marked the pinnacle of Monet's success. His paintings garnered attention and sales both locally and abroad, notably in the United States and England. Embracing the role of a refined gentleman, he employed a substantial staff at his residence, including six gardeners dedicated to maintaining his cherished garden and lily pond.

In his later years, Monet found solace in solitude with nature, devoting himself to painting rather than engaging in the theoretical or critical debates of Paris' artistic and cultural circles. Although he traveled extensively during the 1880s and 1890s, venturing to London, Venice, Norway, and various regions of France, in 1908 he settled in Giverny for the remainder of his life. The year 1911 brought the loss of his second wife, Alice, followed by the death of his son, Jean. These heartbreaking events, coupled with the turmoil of the First World War and the development of a cataract over one of his eyes, led Monet to essentially cease painting.

During this challenging period, Monet's friend and French statesman, Georges Clemenceau, approached him with a request to create an artwork that would uplift the country from the gloom of the war. Initially hesitant, citing his age and health, Monet eventually found encouragement from Clemenceau to embark on what he called "the great decoration."

This ambitious project envisioned a continuous series of waterscapes in an oval salon, forming a world within a world. To facilitate this endeavor, a new studio with a glass wall facing the garden was constructed. Despite his cataracts, Monet persevered, moving a portable easel around the studio to capture the ever-changing light and perspective of his beloved water lilies. He dedicated himself to these water paintings until the end of his life, completing this monumental project during his final years.

Claude Monet's Art Style

Inspired in part by Édouard Manet, Claude Monet diverged from the established norms of clear forms and linear perspective prevalent in the art of his time. Instead, he delved into experimentation with loose brushwork, vibrant color, and unconventional compositions. His paintings shifted focus from mere representation of figures to capturing the nuanced qualities of light and atmosphere in each scene.

As Monet matured, his sensibilities towards color and form evolved. He adopted the technique of applying paint in smaller, distinct strokes, layering them to create broad fields of color. This exploration led him to discover the decorative potential of harmonious and contrasting color combinations. Particularly in his series of paintings from the 1890s, Monet's work showcased significant advancements towards abstraction and a modern approach focused on surface effects.

The estate at Giverny served as Monet's primary muse for the last thirty years of his life. Here, he meticulously crafted a Japanese garden for contemplation and tranquility, complete with a pond adorned with water lilies and a picturesque arched bridge.

Monet's artistic focus shifted away from modernity, prioritizing the exploration of atmosphere and environment. His series depicting grainstacks, painted at various times of the day, received widespread acclaim when displayed at Durand-Ruel's gallery. Subsequently, Monet directed his attention to Rouen Cathedral, producing similar studies that captured the cathedral's facade in different lighting conditions. The outcome was a multitude of canvases characterized by vibrant, slightly exaggerated colors, forming a visual chronicle of his evolving perceptions.