Claude Monet: Master Impressionist

Who was Monet? Claude Monet was born on November 14, 1849 in Paris, France. Having developed an artistic aptitude at a young age, Monet began to explore the concept of outdoor painting as a teenager. This inevitably led to Monet being a renowned impressionist artist in France and around the world. Leaving his hometown for the famous city of Paris in 1895, at the age of 46, Monet began to pursue a career in painting. Having been influenced by great artists, Monet was inspired and studied at Academie Suisse. Moreover, this well-known school for art was where he met Camille Pissarro and Gustav Courbet. In 1860, Claude Monet unexpectedly took a break from his artistic pursuits and served in the military within Algeria. Only after serving for two years, Monet returned to Paris and continued with his study of art. Having done experimentation with new styles, he began forming friendships with renowned painters such as; Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille, and Édouard Manet. In this decade, Monet had his first experience with impressionism when he began to work in the outdoors, in particular, a forest with Barbizon artists. Claude Monet soon became used to the constant travelling and was captivated by the atmosphere of being outdoors, especially by the natural lighting and colour. This inevitably became crucial to his artworks as they represented the very essence of impressionism. However this will be discussed further later in this booklet. In 1870, after a few years of hardships as a painter, Claude Monet married his wife, Camille. Travelling to London in that year he began to paint again, most of his best-known paintings were created at this time when he worked alongside artists such as, Renoir, Sisley, Caillebotte and Manet. This is was when Monet’s first exhibition was held in a private Impressionist group show. More than a decade later, in 1882, Claude Monet moved to Giverny. This was a drastic change to Monet’s life as many of his Impressionist colleagues left him to explore their own future. However, this did not deter Monet from painting, as he began to travel once again to places like London, Madrid and Venice. The formative decades of the 1880s and the 1890s helped shaped his career into that of a famous painter. Indeed, thanks to an art-dealer Durand-Ruel, Monet finally gained critical and financial success. It was during this period where Claude Monet’s painting style became increasingly modern. However, Claude continued with his principle of studying the visible work and putting emphasis on its momentary qualities. This unprecedented style of painting was important for the development of abstract painting. Prior to his death in 1879, Claude Monet’s paintings took another transition as his paintings exemplified the use of bold, broad, sweeping strokes. Despite the poor health he was in, he still continued to work on his paintings thoroughly and is still remembered to this day for his incredible talent. Monet’s Influences Claude Monet’s main influence at a young age was Eugène Boudin. Boudin was a landscape artist who first introduced Monet to outdoor painting also known as en plein air. In Gleyre’s studio he was influenced by an artist named Delacriox whose paintings exemplified colour and brushwork. In

1870, in England, Monet visited the famous London museums where John Constable and J.M.W Turner paintings left a deep impression on him. This is evident in the depiction of sunlight through in fog in his painting, Impression Soleil Levant. Themes and Topics

• Landscape

The Cliffs at Etretat 1885

Oil on canvas 65 x 81,1 cm

• Structural Frame:

Claude Monet’s ‘The Cliffs at Etretat’ exhibits various concepts of the structural frame. Through the five elements of art, it is clear to see the complexities. Line is used within the short brush strokes, also used horizontally on the rock’s surface. Texture appears to be rough as oil paint was used and tone is overall light towards the left hand side. Darkness is visible on the right hand side even though light colours are used. Blue, white, grey, brown colours are used throughout, gives a pastel effect. Furthermore, shape is a crucial part of this artwork, as it or organic, giving the artwork a more natural style. The cliffs aren’t geometric and the shape or form of the clouds has no definite lines. Moreover, the principles of design used with the artwork are; harmony, movement, balance, contrast and focal point. The movement of ‘The Cliffs at Etretat appear to be from the cliffs on the right hand side to left as the cliffs are the focal point. The light colours of the painting harmonises with the light tone of water and sky. Also apparent is the balance of this artwork as it is clearly asymmetrical as the cliffs seem to visually weigh more than the left hand side. Additionally, the dark colours of the cliffs are in complete contrast to the blue sky/water. Made from oil on canvas, this artwork is ultimately appealing to the audience.

• Subjective Frame:

Monet’s painting evokes a variety of emotions and feelings. In particular it exhibits the emotions of peace and tranquility through the blue tones. The brown, grey shade reveals feelings of neutrality. As a landscape this painting could embody personal experience for Claude Monet since impressionist artists paint outdoors, en plein air. Hence, Claude Monet wouldn’t have used his imagination or the subconscious to create this artwork.

• Cultural Frame:

Painted in 1885, the setting of this painting is of the Alabaster coast in France. A seaside town, close to where Monet lived, perhaps why he decided to paint this landscape.

• Postmodern Frame:

This artwork doesn’t seem to be able to be seen through the postmodern frame. However since the style is impressionism, this was described as modern and contemporary in 1885.

Weeping Willow 1918-19

Oil on canvas

• Subjective Frame:

This artwork elucidates a melancholy emotion as the dark colours are most visible. The dark blue colours does not evoke any feelings of happiness however, the light and dark combination of shades of green create a feeling of contentment. These contrasting colours coincidently give a balance of both the good and bad emotions. Indeed, it seems as if this is an artwork from the subconscious but this is not conceivable due to the fact that Monet was an impressionist artist.

• Cultural Frame:

As it is simply a painting of a tree, it is hard to decipher how this can be seen through the cultural frame.

• Postmodern Frame:

Like the previous frame, it is difficult to see this in the postmodern frame as it is a traditional painting.

• Structural Frame:

Claude Monet’s painting ‘Weeping Willow’ can be thoroughly analysed through the structural frame. Complementary colours, like blue, green and brown are used all throughout the leaves of the willow tree. The dark brown colours define the tree trunk and floor at the bottom of the artwork. Organic shapes create the leaves and branches, however straight horizontal lines are used from short-long brush strokes. Additionally, the texture appears to be rough due to the

use of oil paint. Also dark and light tones are used, the border appears to be darker than the foreground. Principles of design are also used throughout. The dark and light colours are in complete contrast. Harmony of shapes, colours and tone are visible in the centre of the painting. The focal point is the darkest object, the tree trunk and movement begins from the point outwards. The top and bottom half are symmetrical, though the left and right hand side are asymmetrical.

The Grand Canal 1908

Oil on canvas 73.5 x 92.5 cm (28.9 x 36.4 in)

• Structural Frame:

‘The Grand Canal’ through the structural frame reveals a myriad of elements of art and principles of design. The light tone and colours are used all through this painting. The light pink, blue, green tones used in this painting harmonises well together. Vertical straight lines are apparent on the left hand side. Also, horizontal straight brush strokes are visible on the bottom half of the painting. Texture seems to be smooth on the top half and rough towards the water. This painting has geometric shapes on the right hand side where the buildings are. Also there are a few objects on the left hand side that are geometric. Organic shapes are shown on the round object of the building. The dark post in the centre blatantly contrasts with the surrounding water. As it is contrasted, it makes it the focal point. The movement starts from here then to the right of the painting. Moreover, this top and bottom half are balanced though the left and right side is obviously asymmetrical.

• Subjective Frame:

‘The Grand Canal’ embodies the emotion of happiness and contentment. The colours are pastel and light, giving a tranquil atmosphere about it. This painting reveals a personal experience of Monet as he would have painted this outside. It might also evoke a memory for the audience as this place is a popular tourist destination.

• Cultural Frame:

This painting is of the famous Grand Canal in Venice, France in the early 1900s. As a tourist destination, it is obvious why Monet would paint such a landscape.

• Postmodern Frame:

Claude Monet’s painting is hard to analyse through the postmodern frame.

Glossary En plein air: A French term, translated in English as ‘open air’ as it is the practice of painting outside. Academie Suisse: Art school founded by Charles Suisse and was once located at the corner of the Quai des Orfevres and the Boulevard du Palais, Paris. Impressionism: A style of painting during the 1860s and 1870s. Artists captured the initial impression of a scene mainly outdoors.

Techniques and Materials Claude Monet’s main technique and style used was visible brush strokes, emphasis on light and its changing qualities, open composition, ordinary subject matters and unusual visual angles. These facets are the essence of impressionism as Monet was extremely gifted with his artistic talent. Having been fascinated with the unstable effects of light, Monet had an immaculate palette of pure pigments that always avoided black. His painting style consisted of quick series of skilful brush marks, resulting in amazing artworks by using oil paints on canvas. TIMELINE Monet Chronology 1840 Birth of Claude Oscar Monet

1845 Family moves to Le Harve.

1858 Monet meets Eugene Boudin who introduces Monet to painting outdoors

1859 Monet goes to Paris

1863 Monet paints ‘en plein air’ in Fontainbleau forest

1865 Monet paintings are exhibited at The Salon

1870 Marries Camille, lives in London

1879 Death of wife, Camille

1889 Exhibits painting in New York with the help of Durand-Ruel

1890 Moves to Giverny and digs a pond for the famous water-lily painting

1904 Travels to Madrid and inspired by paintings of Velasquez

1907 Problems with eyesight, visits Venice in Italy

1916 Monet builds a large studio in Giverny

1916-1926 Monet paints The Water Lilies on 12 large canvases and donates them to a museum

1923 Monet has an operation on his eye and his eyesight improves

1926 Monet continues to paint however his has lung cancer. Dies December 5th and in buried in Giverny

World Events 1837 Victoria becomes Queen of U.K.

1842 Architect and artists are influenced by influenced by discoveries in the Middle East

1848 Karl Marx finalises Communist Manifesto, Revolution begins in France

1852 Louis Napoleon declares himself Emperor Napoleon III

1859 Charles Darwin publishes On the Origin of Species by Natural Selection

1861 American civil war begins

1870-71 Prussia defeats France in war

1874 First Impressionist exhibition (named after Monet painting)

1876 Invention of the telephone

1883 Impressionist paintings are exhibited in America

1889 Eiffel Tower is completed

1898 Marie Curie discovers radium

1901 Picasso begins his Blue Period, Commonwealth of Australia established

1907 Entente Cordiale between France, Britain and Russia

1914 First World War

1918 End of First World War

1920 League of Nations holds first meeting http://www.biography.com/impressionists/monet-bio.jsp http://www.intermonet.com/biograph/ http://www.ndoylefineart.com/monet.html http://webspace.ship.edu/cgboer/1800s.html