Claude monet education
Claude Monet
French painter (–)
"Monet" redirects here. For other uses, see Monet (disambiguation).Not to be confused with Édouard Manet, another painter of the same era.
Oscar-Claude Monet (, ; French:[klodmɔnɛ]; 14 November &#;– 5 December ) was a French painter and founder of Impressionism painting who is seen as a key precursor to modernism, especially in his attempts to paint nature as he perceived it.
Claude monet biography for kids Claude Monet was a French painter who initiated, led, and unswervingly advocated for the Impressionist style. Monet is known for repeated studies of the same motif in different lights and for his Water Lilies series, which was inspired by his garden at Giverny.During his long career, he was the most consistent and prolific practitioner of Impressionism's philosophy of expressing one's perceptions of nature, especially as applied to plein air (outdoor) landscape painting.[2] The term "Impressionism" is derived from the title of his painting Impression, soleil levant, which was first exhibited in the so-called "exhibition of rejects" of –an exhibition initiated by Monet and like-minded artists as an alternative to the Salon.
Monet was raised in Le Havre, Normandy, and became interested in the outdoors and drawing from an early age. Although his mother, Louise-Justine Aubrée Monet, supported his ambitions to be a painter, his father, Claude-Adolphe, disapproved and wanted him to pursue a career in business. He was very close to his mother, but she died in January when he was sixteen years old, and he was sent to live with his childless, widowed but wealthy aunt, Marie-Jeanne Lecadre.
He went on to study at the Académie Suisse, and under the academic history painterCharles Gleyre, where he was a classmate of Auguste Renoir.
Jean claude monet biography google drive Instead of reading Monet's work as engaged only with the beauties of nature, Paul Hayes Tucker offers strikingly new perspectives based on a close examination of individual paintings, Monet's biography, and the multiple forces that shaped his aesthetic.His early works include landscapes, seascapes, and portraits, but attracted little attention. A key early influence was Eugène Boudin, who introduced him to the concept of plein air painting. From , Monet lived in Giverny, also in northern France, where he purchased a house and property and began a vast landscaping project, including a water-lily pond.
Monet's ambition to document the French countryside led to a method of painting the same scene many times so as to capture the changing of light and the passing of the seasons. Among the best-known examples are his series of haystacks (–), paintings of Rouen Cathedral (–), and the paintings of water lilies in his garden in Giverny, which occupied him for the last 20 years of his life.
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Instead of reading Monet's work as engaged only with the beauties of nature, Paul Hayes Tucker offers strikingly new perspectives based on a close examination of individual paintings, Monet's biography, and the multiple forces that shaped his aesthetic.Frequently exhibited and successful during his lifetime, Monet's fame and popularity soared in the second half of the 20th century when he became one of the world's most famous painters and a source of inspiration for a burgeoning group of artists.
Biography
Birth and childhood
Claude Monet was born on 14 November on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris.[3] He was the second son of Claude Adolphe Monet (–) and Louise Justine Aubrée Monet (–), both of them second-generation Parisians.
On 20 May , he was baptised in the local Paris church, Notre-Dame-de-Lorette, as Oscar-Claude, but his parents called him simply Oscar.[3][4] Although baptised Catholic, Monet later became an atheist. In , his family moved to Le Havre in Normandy. His father, a wholesalemerchant, wanted him to go into the family's ship-chandling and grocery business,[7] but Monet wanted to become an artist.
His mother was a singer, and supported Monet's desire for a career in art.[9]
On 1 April , he entered Le Havre secondary school of the arts.[10] He was an apathetic student who, after showing skill in art from a young age, began drawing caricatures and portraits of acquaintances at age 15 for money.[11] He began his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David.[11] In around , he met fellow artist Eugène Boudin, who would encourage Monet to develop his techniques, teach him the "en plein air" (outdoor) techniques for painting and take Monet on painting excursions.[12][13] Monet thought of Boudin as his master, whom "he owed everything to" for his later success.
In , his mother died.[15] He lived with his father and aunt, Marie-Jeanne Lecadre; Lecadre would be a source of support for Monet in his early art career.[13][15]
Paris and Algeria
From to , Monet continued his studies in Paris, where he enrolled in Académie Suisse and met Camille Pissarro in He was called for military service and served under the Chasseurs d'Afrique (African Hunters), in Algeria, from to [18] His time in Algeria had a powerful effect on Monet, who later said that the light and vivid colours of North Africa "contained the gem of my future researches".[19] Illness forced his return to Le Havre, where he bought out his remaining service and met Johan Barthold Jongkind, who together with Boudin was an important mentor to Monet.[12]
Upon his return to Paris, with the permission of his father, he divided his time between his childhood home and the countryside and enrolled in Charles Gleyre's studio, where he met Pierre-Auguste Renoir and Frédéric Bazille.[15] Bazille eventually became his closest friend.
In search of motifs, they traveled to Honfleur where Monet painted several "studies" of the harbor and the mouth of the Seine. Monet often painted alongside Renoir and Alfred Sisley,[24] both of whom shared his desire to articulate new standards of beauty in conventional subjects.
During this time he painted Women in Garden, his first successful large-scale painting, and Le déjeuner sur l'herbe, the "most important painting of Monet's early period".[24] Having debuted at the Salon in with La Pointe de la Hève at Low Tide and Mouth of the Seine at Honfleur to large praise, he hoped Le déjeuner sur l'herbe would help him break through into the Salon of He could not finish it in a timely manner and instead submitted The Woman in the Green Dress and Pavé de Chailly to acceptance.[15][28] Thereafter, he submitted works to the Salon annually until , but they were accepted by the juries only twice, in and [12] He sent no more works to the Salon until his single, final attempt in [12] His work was considered radical, "discouraged at all official levels".
In his then-mistress, Camille Doncieux—whom he had met two years earlier as a model for his paintings—gave birth to their first child, Jean.[13] Monet had a strong relationship with Jean, claiming that Camille was his lawful wife so Jean would be considered legitimate.[29] Monet's father stopped financially supporting him as a result of the relationship.
Earlier in the year Monet had been forced to move to his aunt's house in Sainte-Adresse.[15][28] There he immersed himself in his work, although a temporary problem with his eyesight, probably related to stress, prevented him from working in sunlight.[15][28][12] Monet loved his family dearly, painting many portraits of them such as Child With a Cup, a Portrait of Jean Monet.
Claude monet biography summary: Claude Monet, who lived in France from to , was a founder of Impressionism. He was an innovator and promoter of the movement's practice of painting outside of the studio in all.
This painting in particular shows the first signs of Monets' later famous impressionistic work.[30]
With help from the art collector Louis-Joachim Gaudibert, he reunited with Camille and moved to Étretat the following year.[15] Around this time, he was trying to establish himself as a figure painter who depicted the "explicitly contemporary, bourgeois", an intention that continued into the s.[15][31] He did evolve his painting technique and integrate stylistic experimentation in his plein-air style—as evidenced by The Beach at Sainte-Adresse and On the Bank of the Seine respectively, the former being his "first sustained campaign of painting that involved tourism".[15][28]
Several of his paintings had been purchased by Gaudibert, who commissioned a painting of his wife, alongside other projects; the Gaudiberts were for two years "the most supportive of Monet's hometown patrons".[12][29] Monet would later be financially supported by the artist and art collector Gustave Caillebotte, Bazille and perhaps Gustave Courbet, although creditors still pursued him.[12]
Exile and Argenteuil
He married Camille on 28 June , just before the outbreak of the Franco-Prussian War.[32] During the war, he and his family lived in London and the Netherlands to avoid conscription.[15] Monet and Charles-François Daubigny lived in self-imposed exile.[A] While living in London, Monet met his old friend Pissarro and the American painter James Abbott McNeill Whistler, and befriended his first and primary art dealer, Paul Durand-Ruel, an encounter that would be decisive for his career.
There he saw and admired the works of John Constable and J. M. W. Turner and was impressed by Turner's treatment of light, especially in the works depicting the fog on the Thames.[12][15][33][34] He repeatedly painted the Thames, Hyde Park and Green Park.[15] In the spring of , his works were refused authorisation for inclusion in the Royal Academy exhibition and police suspected him of revolutionary activities.[35][32] That same year he learned of his father's death.[12]
The family moved to Argenteuil in , where he, influenced by his time with Dutch painters, mostly painted the Seine's surrounding area.[31] He acquired a sailboat to paint on the river.[12] In , he signed a six-and-a-half year lease and moved into a newly built "rose-colored house with green shutters" in Argenteuil, where he painted fifteen paintings of his garden from a panoramic perspective.[31] Paintings such as Gladioli marked what was likely the first time Monet had cultivated a garden for the purpose of his art.[31] The house and garden became the "single most important" motif of his final years in Argenteuil.
For the next four years, he painted mostly in Argenteuil and took an interest in the colour theories of chemist Michel Eugène Chevreul.[12] For three years of the decade, he rented a large villa in Saint-Denis for a thousand francs per year. Camille Monet on a Garden Bench displays the garden of the villa, and what some have argued to be Camille's grief upon learning of her father's death.
Monet and Camille were often in financial straits during this period—they were unable to pay their hotel bill during the summer of and likely lived on the outskirts of London as a result of insufficient funds.
An inheritance from his father, together with sales of his paintings, did, however, enable them to hire two servants and a gardener by [13][39][40] Following the successful exhibition of some maritime paintings and the winning of a silver medal at Le Havre, Monet's paintings were seized by creditors, from whom they were bought back by a shipping merchant, Gaudibert, who was also a patron of Boudin.[41]
Impressionism
When Durand-Ruel's previous support of Monet and his peers began to decline, Monet, Renoir, Pissarro, Sisley, Paul Cézanne, Edgar Degas, and Berthe Morisot exhibited their work independently; they did so under the name the Anonymous Society of Painters, Sculptors and Engravers for which Monet was a leading figure in its formation.[12][15] He was inspired by the style and subject matter of his slightly older contemporaries, Pissarro and Édouard Manet.[42] The group, whose title was chosen to avoid association with any style or movement, were unified in their independence from the Salon and rejection of the prevailing academicism.[12][43] Monet gained a reputation as the foremost landscape painter of the group.
At the first exhibition, in , Monet displayed, among others, Impression, Sunrise, The Luncheon and Boulevard des Capucines.[44] The art critic Louis Leroy wrote a hostile review.
Taking particular notice of Impression, Sunrise (), a hazy depiction of Le Havre port and stylistic detour, he coined the term "Impressionism". Conservative critics and the public derided the group, with the term initially being ironic and denoting the painting as unfinished.[15][43] More progressive critics praised the depiction of modern life—Louis Edmond Duranty called their style a "revolution in painting".[43] Leroy later regretted inspiring the name, as he believed that they were a group "whose majority had nothing impressionist".
The total attendance is estimated at Monet priced Impression: Sunrise at francs but failed to sell it.[45][46][47] The exhibition was open to anyone prepared to pay 60 francs and gave artists the opportunity to show their work without the interference of a jury.[45][46][47] Another exhibition was held in , again in opposition to the Salon.
Monet displayed 18 paintings, including The Beach at Sainte-Adresse which showcased multiple Impressionist characteristics.[28]
For the third exhibition, on 5 April , he selected seven paintings from the dozen he had made of Gare Saint-Lazare in the past three months, the first time he had "synced as many paintings of the same site, carefully coordinating their scenes and temporalities".[49] The paintings were well received by critics, who especially praised the way he captured the arrival and departures of the trains.[49] By the fourth exhibition, his involvement was by means of negotiation on Caillebotte's part.[15] His last time exhibiting with the Impressionists was in —four years before the final Impressionist exhibition.[50]
Monet, Renoir, Pissarro, Morisot, Cézanne and Sisley proceeded to experiment with new methods of depicting reality.
They rejected the dark, contrasting lighting of romantic and realist paintings, in favour of the pale tones of their peers' paintings such as those by Jean-Baptiste-Camille Corot and Boudin.
After developing methods for painting transient effects, Monet would go on to seek more demanding subjects, new patrons and collectors; his paintings produced in the early s left a lasting impact on the movement and his peers—many of whom moved to Argenteuil as a result of admiring his depiction.[15]
- Paintings –
View at Rouelles, Le Havre , private collection; an early work showing the influence of Corotà Sainte-Adresse and Courbet
Mouth of the Seine at Honfleur, , Norton Simon Foundation, Pasadena, California; indicates the influence of Dutch maritime painting.[54]
The Green Wave, , Metropolitan Museum of Art
Women in the Garden, –, Musée d'Orsay, Paris[55]
Woman in the Garden, , Hermitage, St.
Petersburg; a study in the effect of sunlight and shadow on colour.
Garden at Sainte-Adresse ("Jardin à Sainte-Adresse"), , Metropolitan Museum of Art, New York[56]
The Luncheon, , Städel, which features Camille Doncieux and Jean Monet, was rejected by the Paris Salon of but included in the first Impressionists' exhibition in [57]
La Grenouillére , Metropolitan Museum of Art, New York; a small plein-air painting created with broad strokes of intense colour.[58]
On the Bank of the Seine, Bennecourt, , Art Institute of Chicago
The Magpie, – Musée d'Orsay, Paris; one of Monet's early attempts at capturing the effect of snow on the landscape.
See also Snow at Argenteuil
Le port de Trouville (Breakwater at Trouville, Low Tide), , Museum of Fine Arts, Budapest[59]
La plage de Trouville, , National Gallery, London. The left figure may be Camille, on the right possibly the wife of Eugène Boudin, whose beach scenes influenced Monet.[60]
Houses on the Achterzaan, , Metropolitan Museum of Art, New York
Jean Monet On His Hobby Horse, Metropolitan Museum of Art, New York
Springtime , Walters Art Museum
Ships Riding on the Seine at Rouen, , National Gallery of Art, Washington DC
Death of Camille and Vétheuil
In , Monet returned to figure painting with Woman with a Parasol - Madame Monet and Her Son, after effectively abandoning it with The Luncheon.
His interest in the figure continued for the next four years—reaching its crest in and concluding altogether in [29] In an "unusually revealing" letter to Théodore Duret, Monet discussed his revitalised interest: "I am working like never before on a new endeavour figures in plein air, as I understand them. This is an old dream, one that has always obsessed me and that I would like to master once and for all.
But it is all so difficult! I am working very hard, almost to the point of making myself ill".
In , Camille Monet became seriously ill.[62] Their second son, Michel, was born in , after which Camille's health deteriorated further.[62] In the autumn of that year, they moved to the village of Vétheuil where they shared a house with the family of Ernest Hoschedé, a wealthy department store owner and patron of the arts who had commissioned four paintings from Monet.[12][15] In , Camille was diagnosed with uterine cancer.[63] She died the next year.[15] Her death, alongside financial difficulties—once having to leave his house to avoid creditors—afflicted Monet's career; Hoschedé had recently purchased several paintings but soon went bankrupt, leaving for Paris in hopes of regaining his fortune, as interest in the Impressionists dwindled.[12][15]
Monet made a study in oils of his late wife.
Many years later, he confessed to his friend Georges Clemenceau that his need to analyse colours was both a joy and a torment to him. He explained: "I one day found myself looking at my beloved wife's dead face and just systematically noting the colours according to an automatic reflex".[64]John Berger describes the work as "a blizzard of white, grey, purplish paint&#; a terrible blizzard of loss which will forever efface her features.
In fact there can be very few death-bed paintings which have been so intensely felt or subjectively expressive."[65]
Monet's study of the Seine continued. He submitted two paintings to the Salon in , one of which was accepted.[12] He began to abandon Impressionist techniques as his paintings utilised darker tones and displayed environments, such as the Seine River, in harsh weather.
For the rest of the decade, he focused on the elemental aspect of nature.[24] His personal life influenced his distancing from the Impressionists.[15] He returned to Étretat and expressed in letters to Alice Hoschedé—who he would marry in , following her husband's death the preceding year—a desire to die.[15] In , he moved with Alice and her children to Poissy and again sold his paintings to Durand-Ruel.[12] Alice's third daughter, Suzanne, would become Monet's "preferred model", after Camille.
In April , looking out the window of the train between Vernon and Gasny, he discovered Giverny in Normandy.[66] That same year his first major retrospective show was held.
In a letter sent to Monet in , Paul Durand-Ruel mentions Monet's financial worries, and tells him that both the stockbroker Theodore-Charles Gadala and Georges Clemenceau have purchased paintings.[67] Monet's struggles with creditors ended following prosperous trips; he went to Bordighera in , and brought back 50 landscapes.[12] He travelled to the Netherlands in to paint the tulips.
He soon met and became friends with Gustave Geffroy, who published an article on Monet.[12] Despite his qualms, Monet's paintings were sold in America and contributed towards his financial security.[15] In contrast to the last two decades of his career, Monet favoured working alone—and felt that he was always better when he did, having regularly "long[ed] for solitude, away from crowded tourist resorts and sophisticated urban settings".[68] Such a desire was recurrent in his letters to Alice.[68]
- Paintings –
Effet de Brouillard, c.&#;
Camille Monet on a Garden Bench, , Metropolitan Museum of Art, New York
The Seine at Argenteuil,
The Artist's House at Argenteuil, , Art Institute of Chicago
Coquelicots, La promenade (Poppies), , Musée d'Orsay, Paris
Argenteuil, , National Gallery of Art, Washington D.C.
The Studio Boat, , Kröller-Müller Museum, Otterlo, Netherlands
Camille au métier, , Barnes collection
Woman with a Parasol - Madame Monet and Her Son, , National Gallery of Art, Washington D.C.
Madame Monet in a Japanese Kimono, , Museum of Fine Arts, Boston
Le Bateau-atelier, , Barnes collection
Flowers on the Riverbank at Argenteuil, , Pola Museum of Art, Japan
Vétheuil in the Fog, , Musée Marmottan Monet, Paris
The Thaw at Vétheuil, , Thyssen-Bornemisza Museum, Madrid
La Falaise à Fécamp, , Aberdeen Art Gallery
Study of a Figure Outdoors: Woman with a Parasol, Facing Left, (Suzanne Hoschedé), , Musée d'Orsay
Giverny
In , Monet and his family rented a house and gardens in Giverny, which provided him with domestic stability he had not yet enjoyed.[15] The house was situated near the main road between the towns of Vernon and Gasny at Giverny.
There was a barn that doubled as a painting studio, orchards and a small garden. The house was close enough to the local schools for the children to attend, and the surrounding landscape provided numerous natural areas for Monet to paint.[69][70][71]
The family worked and built up the gardens, and Monet's fortunes began to change for the better as Durand-Ruel had increasing success in selling his paintings.[72] The gardens were Monet's greatest source of inspiration for 40 years.[73] In , Monet purchased the house.
During the s, Monet built a greenhouse and a second studio, a spacious building well lit with skylights.
Jean claude monet biography google drive link Oscar-Claude Monet (Nov 14, - Dec 5, ) is one of the most famous Western painters of all time. The founder of Impressionist painting, creator of the iconic Water Lilies series, and a.Monet wrote daily instructions to his gardener, precise designs and layouts for plantings, and invoices for his floral purchases and his collection of botany books. As Monet's wealth grew, his garden evolved. He remained its architect, even after he hired seven gardeners.[75] Monet purchased additional land with a water meadow.[12] White water lilies local to France were planted along with imported cultivars from South America and Egypt, resulting in a range of colours including yellow, blue and white lilies that turned pink with age.[76] In , he increased the size of his water garden by nearly square metres; the pond was enlarged in and with easels installed all around to allow different perspectives to be captured.[15]
Dissatisfied with the limitations of Impressionism, Monet began to work on series of paintings displaying single subjects—haystacks, poplars and the Rouen Cathedral—to resolve his frustration.[24] These series of paintings provided widespread critical and financial success; in , 61 paintings were exhibited at the Petit Gallery.
He also began a series of Mornings on the Seine, which portrayed the dawn hours of the river.[15] In and he displayed a series of paintings of Belle Île to rave reviews by critics.[68] Monet chose the location in the hope of finding a "new aesthetic language that bypassed learned formulas, one that would be both true to nature and unique to him as an individual, not like anyone else."[68]
In , he began painting the water lilies that would occupy him continuously for the next 20 years of his life, being his last and "most ambitious" sequence of paintings.[31][78] He had exhibited this first group of pictures of the garden, devoted primarily to his Japanese bridge, in [15] He returned to London—now residing at the prestigious Savoy Hotel—in to produce a series that included 41 paintings of Waterloo bridge, 34 of Charing Cross bridge and 19 of the House of Parliament.[79] Monet's final journey would be to Venice, with Alice in [15]
Depictions of the water lilies, with alternating light and mirror-like reflections, became an integral part of his work.[80] By the mids Monet had achieved "a completely new, fluid, and somewhat audacious style of painting in which the water-lily pond became the point of departure for an almost abstract art".[81]Claude Roger-Marx noted in a review of Monet's successful exhibition of the first Water Lilies series that he had "reached the ultimate degree of abstraction and imagination joined to the real".
This exhibition, entitled Waterlilies, a Series of Waterscape, consisted of 42 canvases, his "largest and most unified series to date".[15] He would ultimately make over paintings of the Waterlilies.[50]
At his house, Monet met with artists, writers, intellectuals and politicians from France, England, Japan and the United States.
In the summer of , he met John Singer Sargent whose experimentation with figure painting out of doors intrigued him; the pair went on to frequently influence each other.