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Claude monet Biography

Claude Monet

(Claude Oscar Monet; Paris, 1840-Giverny, 1926) French painter, key figure of the Impressionist movement.His artistic inclinations were born from contact with Eugène Boudin in Le Havre, and excursions to the countryside and the beach during his adolescence guided the later development of his painting.

Claude Monet

After military service in Algeria, he returned to Paris, where in Gleyre's studio he met young artists such as Renoir, Sisley and Bazille, and in the popular café Guerbois contacted a group of intellectuals, literati and painters such as Émile Zola, Nadar, Cézanne and Degas, who together with Manet were beginning to oppose established art.

Fast painting such as pochades or études was, at that time, to the liking of society as long as it was limited to the theme of landscape in small format.Monet's early work, The Sainte-Adresse Coast (1864, Institute of Arts, Minneapolis), is reminiscent of its initiator, Boudin, but takes on greater scope by applying direct painting to themes and formats of greater complexity and size.

From 1890 on, Monet's painting became more complex and the initial immediacy and euphoria were transformed into dissatisfaction and melancholy, in a difficult attempt to reconcile the fresh and expressive technique of his early years with searches deeper and more ambitious that could last for several days, months and even years, with the intention of creating works that contained greater complexity: variations that in their thematic reiteration allowed to emphasize the investigation of formal resolutions. Snow effect (1891, National Gallery of Scotland, Edinburgh), Haystacks (1891, Musée d'Orsay, Paris) and Haystacks, sunset (1890-1891, The Art Institute, Chicago) are works that are part of some of his early series.

However, the best known is the one he dedicated in 1892-1893 to the Cathedral of Rouen, in which it is evident, in a poetic and didactic way, how variations in light alter the perception of the medium that modulates that energy, how light and color are inseparable phenomena of human perception.Monet painted fifty pictures of the cathedral, eighteen of them of the portico, and stated: "He could have made fifty, a hundred, a thousand, as many as there were seconds in his life..."

During the last thirty years From its existence, the artist worked around his Giverny water garden.In an empty meadow through which a small stream passed, he built a lush garden in which a large pond, full of water lilies of all colors and surrounded by willows and exotic trees, was crossed by a small oval-shaped bridge that would appear in numerous paintings of the time, such as The Water Lily Pond (1900, Musée d'Orsay, Paris) or the lyrical composition entitled The Japanese Bridge (1918-1924, Orsay Museum, Paris).

The Japanese bridge

All the time and money that Monet invested in the construction of this garden was compensated for the paintings that emerged from him; the water was again a mirror whose appearance was modified by the ephemeral and unpredictable changes of the sky that were reflected in it.

The well-known series of Ninfeas or water lilies were also born there, which, later, were associated with the contributions of Vasili Kandinsky, Paul Klee, Pablo Picasso and Georges Braque, as symbols of the birth of abstraction in painting Western, after long centuries of predominance of figurative representation. Las Ninfeas: aquatic landscape (1903, Bridgestone Museum of Art, Tokyo), Water lilies at sunset (1916-1922, Kunsthaus, Zurich) or Nymphaeas (1919-1920, Marmottan Museum, Paris) are large-format works that, in a way, can be viewed by the contemporary viewer as abstract paintings.

Menusfares (The clouds) , 1903

Cézanne alluded to the artist's ability to objectively and immediately capture reality.However, his creative process went beyond the direct observation of nature, and used visual memory as an essential resource for the finishing of his compositions.The images that form in memory are perceptions, just like those determined by the visualization of things, and between the two can arise, as happened in Monet's painting, a new conception of the pictorial image of reality.In his later compositions of water lilies, the form is practically dissolved in spots of color, which, in a way, is an anticipation of what abstract art would later be.

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