Data Bases • Custom Term Papers • Free Term Papers • Free Research Papers • Free Essays • Free Book Reports • Plagiarism? Links • Top 100 Term Paper Sites • Top 25 Essay Sites • Top 50 Essay Sites • Search 97,000 Papers @ DirectEssays.com • Search 101,000 Papers @ ExampleEssays.com • Search 90,000 Papers @ MegaEssays.com Free Essays • Term Paper Sites • Chuck III's Free Essays • Free College Essays • TermPaperSites.com • My Term Papers • Get Free Essays • Essay World • Planet Papers	Search Lots of Essays Back to Subjects - Art Monet anfd impressionism Monet anfd impressionism Claude Monet was born in Paris on the 14th November, 1840. When he was five years old, he moved to the port town of Le Havre. For much of his childhood, Monet was considered by both his teachers and his parents to be undisciplined and, therefore, unlike ly to make a success of his life. Enforcing this impression, Monet showed no interest in inheriting his father's wholesale grocery. The only subject which seemed to spark any interest in the child was painting. He developed a decent reputation in school for the caricatures he was fond of creating. By the age of fifteen, he was receiving commission for his work. It was at Le Havre that Monet met the painter Eugene Boudin. While Boudin's own paintings have never been held in that high regard, he is seen as having played a critical role in the education of Monet. Born of a seafaring family in 1824, Boudin was obsessed with the idea of painting outdoors or en plein air . The two painters met in 1856 and, at first, Monet resisted Boudin's offer of tuition but he eventually relaxed his protestations and before long, the two had forged a relationship that was to last a lifetime. Although Monet soon left Le Havre to spend a large part of his life traveling throughout Europe, he returned frequently to visit his old friend. The interest that had been sparked some years earlier was refined and shaped and Monet was in no doubt as to the extent to which his outlook on life had been altered: My eyes were finally opened and I understood nature; I learned at the same time to love it. Boudin may have opened Monet's eyes, he may have even convinced the young painter to break with tradition and finish his paintings outdoors, but the young protégé had yet to truly experience the country's capital. Before long, the limitations of L e Havre on a burgeoning young artist became all to apparent and, in 1859, Monet left for Paris. However, having displaced himself to the heart of Europe's art-world, Monet soon found himself disillusioned by the confines of long-since established principles. He rejected the formal art training that was available in Paris. Bored and frustrated, Monet was to do more painting at the very relaxed Académie Suisse then in the formal schools for which he had left Le Havre. In the Spring of 1862, Monet was called up for National Service. He went to Algeria for a year with a prestigious regiment: les Chaussures d'Afrique . This experience was to have a profound effect on Monet. The landscapes and colors of Algeria presented an entirely different perspective of the world, one which was to inspire him for many years to come. Theoretically, Monet should have remained in Algeria for seven years, but his time there was curtailed by the contraction of typhoid. The artist's aunt, Madame Lecadre, intervened and bought Monet out of the army. Her only condition: that Monet return to Paris and make a serious attempt at completing a formal artistic tuition course. Despite these provisions, Monet did not enroll in l'École des Artistes . It was a renowned institution, but one filled with the traditionalists that Monet was so determined to contradict. Instead, he joined the studio of the Swiss-born Charles Gleyre. Gleyre was a successful Salon painter but he was neither a professor at the École nor was he a member of the Académie . Remembering his own poverty as a student artist, Gleyre charged very little , only 10 francs for models and the studio. This leniency attracted a large number of artists. The student body, such as it existed, was extremely diverse: young, old; rich, poor; good, bad, etc. Among them all, however, Monet was to meet three very cl ose and influential friends: Frédéric Bazille, Auguste Renoir and Alfred SisleyThis subcategory of Gleyre's students was representative of the studio's diverse constitution. While all three of these painters were talented, they came from very different social backgrounds. Noticeably, Renoir was considerably less well-off then his fellow artists. The unifying force th at was to bind the group for so long, however, was the commitment and intense dedication to their new approach to art. One which was eventually to be labeled impressionism. Gleyre was a very talented instructor and all his students benefited from his persistent teaching methods. Monet remained at his studio for approximately two years. Throughout this time, Monet, Renoir, Sisley and Bazille made frequent trips to the nearby forest of Fontainebleau - located South-East of Paris. This forest had been a popular venue for artists for a number of years. How ever, this new group broke the tradition of their predecessor's paintings by replacing subdued colors and dark shadows with open spaces and sunlight. When Monet was not fulfilling his need to be outdoors by going to Fontainebleau, he was visiting his old friend, Boudin, in Le Havre. There can be no doubt as to his enthusiasm during this time: Every day I discover more and more beautiful things. It's enough to drive one mad: I have such a desire to do everything, my head is bursting with it. This enthusiasm and appreciation of the world outdoors was rewarding but Monet wanted to make a name for himself and this meant appeasing the tradionalists of the Académie . Contrary to the advice of his friend and mentor, Boudin, Monet adhered to the expectations placed on serious entries to the Salon and painted a number of pictures in doors. These were very successful. But his larger piece drew some criticism. Quite the opposite from the expected smooth surfaces which were in vogue at the time, Monet's entry was "broadly handled with a loaded brush, giving a rough surface texture and clearly visible brushstrokes, and sacrificing detail to overall effect." Monet persisted in his efforts to appeal to the Académie and during the period from '65 to '66 he painted a number of subjects with varying degrees of success. His last entry, The Woman in the Green Dress (reportedly painted in four days), bought both recognition and introduction to his mistress, Camille Doncieux. Monet, desperate to achieve complete success, immersed himself in his next project and entry to the Salon for the following year: Women in the Garden. This painting too k a very long time to finish because Monet would only paint when the light was falling correctly on every aspect of the painting's subject-matter. In order to complete the top of his canvas, Monet dug himself a ditch so that he could continue to paint th e scene from the same perspective (other painters simply stood upon a ladder). Despite these many arduous efforts, the Salon rejected the painting when it was finally entered for the following season. Shortly after the Salon's decision, Camille became pregnant. They had little money and were largely dependent on Monet's friends. Madame Lecadre took Monet in to her house, but Camille was forced to remain in Paris. This marked the beginning of a lifestyle which was becoming increasingly itinerant, culminating in Monet's move to London in the early 1870's to avoid involvement in the Franco-Prussian War. Here he was exposed to the English masters, Constable and Turner. Later, Monet returned again to Le Havre where he painted the often cited Impression: Sunrise, the painting largely credited with the naming of the entire movement. After the completion of the Sunrise, Monet moved back to Paris and finally rented a house at Argenteuil on the Seine where he and Camille lived for six years. This period represents the height of the impressionist period Frequently joined by Renoir and other friends from his student days, Monet painted every aspect of life and the world out door s. In 1874, Manet, Degas, Cézanne, Renoir, Pissarro, Sisley and Monet put together an exhibition which has been vastly talked about in the history books but was, unfortunately, a contemporary disaster. The exhibition marked a return to financial insecurity for Monet and it was only the intercession of Manet (once a critic, now a friend) that allowed Monet to remain at Argenteuil. In an attempt to recoup some of his losses, Monet made a sale of his paintings at the Hotel Drouot. This, too, was a complete failure. These setbacks demonstrate a remarkable quality about the painter. Despite almost constant rejection and financial uncertainty, Monet's paintings never became morose or even, really, all that somber. Instead, Monet immersed himself in the task of perfec ting a style which still had not been accepted by the world at large. His rendering of the quiver of light in the expanse of space reached its chromatic fullness...he replaced his technique of broad modulations with a kind of pictorial granulation. Never fully content, Monet went to Dieppe, Pourville and Varengeville-sur-Mer. His first wife Camille died in 1882, and in 1883 Monet finally settled in Giverny where he remained until his death. This geographical constant was coupled with the disintegration of the group of impressionists. Other influences and groups presented themselves and, gradually, each of the painters drifted away to pursue their own styles. Among the newcomers was Vincent van Gogh In 1892 Monet married Alice Hoschede, with whom he had had an affair during his marriage to Camille. In that year he painted his series Rouen Cathedral, noticing how every aspect of the scene was altered in accordance with the changing light. This realization was to become an obsession in his later years. At last, Monet gained renown. He knew several important people and he became financially secure for the first time in his life. With this new-found luxury, Monet devoted himself to gardening which, in turn, provided a motif for the painter's last important work, the water lilies . Monet was absorbed in this project almost exclusively from 1900 until his death, ...stripping it of objective solidity and creating of it an ethereal, lyrical abstraction. Monet's method of painting is scientific in nature. Monet did not simply walk to the poplar stream, set up his canvas and paint. The poplars series is the culmination of an eight month study of the effect of light on a particular scene. Still, Monet cannot claim to have followed his own method of strict scientific representation. The act of creating poplars which told the "truth" required Monet to take consideration of aesthetics and forced him to do much of his painting after the event he painted had passed. The poplars are a product of this double-barreled approach. Monet began by rowing to the poplars in his flat-bottomed boat and observing them. One can imagine that his scientific nature would require him to observe the poplars on several different occasions before picking up a brush to paint. Monet's next step was to sketch the basic idea of the painting. A sketch he did for huis haystack series reveals the formal elements he saw as most important. The sketch captures the basic forms of the stacks and a general layout of where the objects are positioned. The sketch also focuses on the locations of the shadows and the lines of light in the sky. Monet had a general idea of the form of his painting before he began his work. After preparing himself with an understanding of the forms of the Poplar, Monet began to paint. Virginia Spate describes his method as follows: [First] Monet laid in the majors elements of the composition with broad parallel or criss-cross strokes and long loopy lines. He covered the entire canvas in a first session of no more than an hour. Later, Monet smudged the strokes and strengthened the calligraphic lines. . . Monet must have returned to it again and again, using an extraordinary range of brushstrokes - thick and fat or fine, almost linear ones, scumbles, tiny dabs and even flecks of paint - to build up a surface so dense that some of the paintings original contours are like sunken channels. The process through which Monet finally puts his impression on canvas carry some scientific elements and some painterly elements. Spate touches on the amount of work Monet does to the canvas after his initial flurry of activity which completely covers it. Monet's later additions cannot claim the scientific legitimacy of the original en plein air painting. A great deal of Monet's work took place in the studio where Monet chose the color harmonies he felt were most appropriate. Still, Monet continued to visit the site with his works and add pigments and rework lines whenever the lighting struck him as similar to the work. To that extent, Monet remained loyal to his initial mission. At the same time, aesthetic virtues required Monet to rework brushstrokes, add more precise lines, and alter color harmonies for decorative effect. Monet's method is both scientific and painterly. The only way Monet could capture his version of "the truth of a moment" required a bit of "lying." Monet's method made accommodations to his underlying philosophy of instantaneity and attention to decorative elements. Monet attempted to reconcile the idea of capturing a moment and his supposition that all moments absolute truth contains a harmony colors. His method of painting recognizes the necessities of both philosophies. Bibliography: Bibliography 1. Paul Tucker. Monet in the 90s: the seires paintings, Boston: Museum of Fine Arts in association with Yale University Press, 1995. 2. Paul Tucker. Monet : Life and Art, New Haven: Yale University Press, 1995. 3.Virginia Spate. Monet: Life and Work, New York: Rizzoli, 1992. 4. Impressionism: Herbert. Yale University Press. 1988 5. Encyclopedia of World Art. McGrow Hill, London. 1965 6. Encyclopedia Britannica. University of Chicago Press. 15th Ed. Founded 1768 Word Count: 2207
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