Monet exhibition at the Grand Palais in Paris

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From the book by John Revalda History of Impressionism "(continued):
"Monet in the meantime without interference continues to devote himself to what is called an" experiment with light and color. " He decided to make a few urban landscapes, and worked on the balcony of the Louvre, where written form of the church of Saint Germain l'Okserrua, as well as the "Garden of the Infanta," the Pantheon in the background. This painting he sold Latush, owner of a small paint store, where his customers, the artists used to meet in the evenings. Latush sometimes also acquired paintings and exhibited them in his shop window. When he was thus exposed for sale "Garden of the Infanta" by Monet, Daumier then angrily demanded that he removed from the window of this "horror" Diaz also showed great enthusiasm and predicted that Monet will go far. Man allegedly also stopped in the street and said contemptuously to some friends: "Look at this young man who tries to work in the open air. Is the old masters were thinking about these things?"

But dreams Monet went further: he would now write a great figure compositions exclusively in the open air. In AVRAY Ville, near Saint-Cloud, where he spent the summer (and where you would normally lived Coro), he in his garden digging a ditch, which could drop large canvas, in order to be able to prescribe its upper part. So he wrote the film "Women in the Garden" for which posed Camille, Courbet from time to time came up to him and amused himself by watching his work. Once, when Courbet found him around and asked him why he does not work, Monet explained that waiting for the sun. "It does not matter - said Courbet - you could still write a landscape background." Monet did not take this advice, as he knew, that can achieve full unity only if the entire picture will be written under the same lighting conditions, otherwise, seemed to trouble associated with implementation of paintings in the open air, loses all meaning.

During this period, Monet worked for a large brush, making quick strokes, he imposed a thick paint and enjoyed a rough texture. He adhered to form, but for the most part treated them as flat surfaces that compensate for the intensity of the shadows. Although these shadows are no longer bityumnye, as in the paintings of the official Salon (on the contrary, they are sometimes surprisingly bright in tone) - their heavy weight of canvas sharply divided on the lit and shaded parts. Its opaque dye transmits light, while not themselves imbued with them. Monet sometimes contrasted them bright spots of pure blue or yellow flowers, sonorous accents that enliven the entire composition. (To be continued)

Paintings by Claude Monet:
- Church of Saint Germain l'Okserrua "(Saint-Germain-l'Auxerrois), 1867, State Museum, Berlin.
- "The Garden of the Infanta," 1867.
- "Women in the Garden", 1866, Musee d'Orsay, Paris.

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"After Monet finished, or rather, almost ended up in wil AVRAY his painting" Women in the Garden, he fall of 1866 he moved to Le Havre, apparently to hide from his numerous creditors. He cut with a knife blade, which could bring (about two hundred, according to his own calculations), but even that did not save them. They were captured and sold in pieces, on 50 and 30 francs per piece. In Le Havre Monet was able to resolve their financial difficulties are not better than Wil AVRAY. In December, he has not had the opportunity to continue to work and asked Basil to send him some pictures posted in Paris, to scrape and use them on canvas for new works.

A few weeks later was at that time in Paris, Boudin had received a letter from Honfleur, in it one of his friends reported: "Monet is still here, working on huge canvases, have remarkable qualities, but nevertheless I find that they are inferior or less persuasive than the famous "dress" ("Camille"), which earned him quite clear and well-deserved success. He has a canvas nearly three-meter height and corresponding width: the figures on it a little smaller than actual size - it is women in elegant dresses, disrupting the garden flowers. Painting from nature and started in the open air. It has merit, but in general it seems to me a couple of dull, no doubt due to insufficient contrast, although the dye in its intensity. He is also working on a great sea view, which is not yet sufficiently advanced, that about him can be judged. He also posted some pretty successful snowy landscapes. Poor terribly want to know that you could hear in the workshops, each day he asks me if there are any news from you ... " (To be continued)

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Snowy landscapes:

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"The situation Monet was particularly difficult due to the fact that Camilla was expecting a child, and in front, it seemed there was no hope for an improvement. Basil to help him, he decided to buy a "Women in the Garden" for a large sum of 2500 francs, which, however, had to be paid in monthly installments of 50 francs. While wealthy parents provide him enough Basile, and although he was always confident of a piece of bread and a roof over his head - a confidence that should have been jealous of his friends - Basile still not had the opportunity to be generous, and even the 50 francs obviously heavily reflected in the his monthly budget. But he tried to do what he could, and willingly shared their meals and shop with three friends in the studio Gleyra. In 1867, he enjoyed the generosity of Renoir, as in the previous - in the studio of Basil on the streets of the World in Batignolles quarter, looked as Sisley and Monet. But despite its good intentions, Basil very slowly answered letters asking for money, if not answered, and this often resulted in Monet's rage. Since Basile himself has not experienced what it means to stand up in the morning, not having the house is not a single penny, he somehow could not imagine, especially at a distance, which happened sometimes desperate situation of his friends. And in addition, these constant screams for help addressed to him, the only person on the support of friends who could count, there was a certain monotony that weakens the sensitivity of Basile to these appeals. The result was several major quarrels with Monet, accused him of not moving fast enough response, but the rift has never been prolonged because of friendliness and responsiveness Basile could not be seriously doubted.

Of goodwill and friendship, however, was not enough to bring Monet from her predicament. 50 francs monthly Basile and the amount of 200 francs, for which he has managed to sell a still life of Monet Major Lezhonu, not enough for your needs Monet, not to mention Camilla. Basil therefore undertook to write a letter to his father Monet and inform him of dire necessity, which was his son. The response was polite but carried the character of an ultimatum. Claude Monet open door of the house of his father's sister, Madame Lekadr in Sainte-Adresse, where he finds a table and a room, money he did not receive any. As for Camilla, the father calmly suggested that his son once and left her. Forced to comply, Monet had to temporarily leave Camille in Paris, without any material support while he went to live with her aunt in Sainte-Adresse. He could not even get money to travel to visit Camille once in July they had a son, Jean. Basile agreed to be godfather to the child.

If the position of Monet could even worsen, it was made the dismissal of his painting "Women in the Garden" presented by the jury, which this year were missing, and Corot and Daubigny. The jury's decision was a particularly heavy blow for Monet, who hoped to sell some of their work, because Salon in 1867 coincided with a new World's Fair in Paris. "(To be continued)

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From the earliest drawings of Claude Monet (cartoon):

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Once Claude met landscape painter Eugène Budyonny (Eugène Boudin, 1824, Honfleur - 1898, Deauville). The owner of the shop took the opportunity presented to him by Monet as a young man who has such a great talent for caricature. "Boden immediately came up to me - remember Monet - praised me in his soft voice and said:" I'm always happy to look at your pictures, it's fun, easy, clever. You are talented - you can see at a glance, but I hope you do not stop here. This is all very well to begin with, but soon you get tired caricature. Engage, learn, see, write and draw, landscapes. Sea and sky, animals, people and trees are so beautiful it is in the form in which they created by nature, with all their qualities, their true being, such as they are surrounded by light and air. "

Claude could not find a better teacher because Boudin was neither doctrinaire nor a theorist. All he knew, he studied with his own eyes and heart, trusting them with genuine innocence. That work side by side with this remarkable artist, as acknowledged by Monet, opened his eyes to the beauty of nature: "I have not forgotten that you were the first who taught me to see and understand" - wrote of Monet Boden already in 1892.

Boudin was one of the staunch supporters of the open air. Even Coro almost all their work begun in the open air finishing in the studio. Boudin preferred to work solely in the open air. "Everything that is written on the spot - he declared - always different strength, expressiveness, and vitality smears, which then you can not get in the studio." He also thought it necessary to "exercise extreme persistence in maintaining a first impression, as it is - the right thing" and at the same time insisted that "the picture should not affect any one part, and everything in general." Is not it true, these allegations are just that - other than the declaration of basic principles of Impressionism.

However, Boudin, was too modest man and never imagined that his lessons would be sufficient to instruct Monet on the right path. He used to say: "Working alone can not achieve the goal, except for very large capacities, and yet ... yet art is not created alone, in a provincial backwater, without criticism, without the possibility of comparison, no firm belief." After six months of communication with Budyonny Claude Monet decided to devote himself to painting and to go on the advice of Boudin in Paris for further study.

From the earliest drawings of Claude Monet:
- The trunk of the tree, "1857, pencil, 31 x 22 cm, Museum of Eugène Boudin, Honfleur.

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Monet and Boudin:
Boudin, Corot is called "the painter of the sky," became the first teacher of the artist. Monet has always been grateful to him.

 His cartoons young artist Claude Monet sold in the shop dealer art supplies, where they were close to the sketches of Eugène Boudin. The artists met and immediately became friends. Already in his later years Monet recalled how there was this meeting: "I often put up for sale my cartoons from a dealer frames. These pictures have won me some fame at Le Havre and a little money. There I met Eugene Boden, who was at that time about 30 years. Even if this man was a bright personality. At his insistence, I decided to paint outdoors. I bought a box of paints, and we went to Ruel (north-east of Le Havre). Buden set his easel and went to work. Suddenly, as if scales fell from my eyes: I knew, I felt that this painting, ... I understand its purpose. Eugene Boudin I owe that became a painter ".

From a letter to Monet Boden:
"... I hope you will not refuse to send me as a gift a little sketch. You know how much it means to me." Paris, 20 February 1860.

From a letter to F. Boudin Maarten:
"We talked about Monet <...> Here, the merchant paintings on the street Lafayette, is a kind of Paris <...> which could become a work worthy of the great masters, if the details were unity. This boy can be a wonderful artist." Paris, 18 January 1869.
Eugene Boudin. Photo 1890
Paintings by Eugene Boudin:
- "The Beach at Trouville, 1869, the Museum d'Orsay, Paris.
- Tryuvil, on the shore under a beach umbrella, 1885.
- "Yellow Umbrella", 1887.
- Return of the Ter-Never ", 1875, the National Gallery of Art, Washington.
- "Washerwoman", 1877-1878.

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Another painting by Eugene Boudin (first master Claude Monet):

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In 1959, Adolphe Monet, the artist's father, gave his son money for a trip to Paris.

Вложение 978891
Photo: Parents of Claude Monet.

In the capital, a young artist on the advice of Haman Gauthier and Constantin Troyon, carefully studying the "Salon, attends classes at the Academy Suisse, where he met Camille Pissarro.
In 1860, nineteen-Claude was called up for military service in Algeria, but in 1862, transfer to the reserve due to illness (typhus), returned to Le Havre. This summer, took his acquaintance with the Dutch artist Jan Bartholdy Yongkindom, who became his second teacher.

Of the early works of Claude Monet:
- "Still life with pheasant", 1861, 76 x 62.5 cm, Museum of Arts, Rouen.
- Angle atelier, 1861, 182 x 127 cm, Museum d'Orsay, Paris.
- "Trophy Hunting", 1862, 104 x 75 cm, Musee Fabre.