Day 353- Pierre-Auguste Renoir- “The pain passes, but the beauty remains”

It’s Day 353 and I was a little nervous about today’s artist.  First of all, his style is the most challenging (to me at least) and his artwork is so wonderful.  I kept describing his paintings as whispers…since they are so soft looking.  I find this type of impressionistic painting so difficult to do since I tend to paint bolder lines than this.  Please join me in honoring Pierre- Auguste Renoir today.

Pierre-Auguste Renoir

Pierre-Auguste Renoir

Dance in the Country (Aline Charigot and Paul Lhote), 1883- Pierre-Auguste Renoir

Dance in the Country (Aline Charigot and Paul Lhote), 1883- Pierre-Auguste Renoir

Pierre-Auguste Renoir (25 February 1841 – 3 December 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau.”

Pierre-Auguste was the father of actor Pierre Renoir (1885–1952), filmmaker Jean Renoir (1894–1979) and ceramic artist Claude Renoir (1901–69). He was the grandfather of the filmmaker Claude Renoir (1913–1993), son of Pierre.

Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working-class family. As a boy, he worked in a porcelain factory where his drawing talents led to his being chosen to paint designs on fine china. Before he enrolled in art school, he also painted hangings for overseas missionaries and decorations on fans.  During those early years, he often visited the Louvre to study the French master painters.

In 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet. At times, during the 1860s, he did not have enough money to buy paint. Although Renoir first

Pierre-Auguste Renoir

Pierre-Auguste Renoir

started exhibiting paintings at the Paris Salon in 1864, recognition did not come for another ten years, due, in part, to the turmoil of the Franco-Prussian War.

During the Paris Commune in 1871, while Renoir painted on the banks of the Seine River, some Communards thought he was a spy and were about to throw him into the river when a leader of the Commune, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.

In 1874, a ten-year friendship with Jules Le Cœur and his family ended, and Renoir lost not only the valuable support gained by the association, but also a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects.

Le Moulin de la Galette- Pierre-Auguste Renoir

Le Moulin de la Galette- Pierre-Auguste Renoir

Renoir experienced his initial acclaim when six of his paintings were hung in the first Impressionist exhibition in 1874. In the same year, two of his works were shown with Durand-Ruel in London.

In 1881, he traveled to Algeria, a country he associated with Eugène Delacroix, then to Madrid, to see the work of Diego Velázquez. Following that, he traveled to Italy to see Titian’s masterpieces in Florence and the paintings of Raphael in Rome. On 15 January 1882 Renoir met the composer Richard Wagner at his home in Palermo, Sicily. Renoir painted Wagner’s portrait in just thirty-five minutes. In the same year, after contracting pneumonia which permanently damaged his respiratory system, Renoir convalesced for six weeks in Algeria.

In 1883, Renoir spent the summer in Guernsey, creating fifteen paintings in little over a month. Most of these feature Moulin Huet, a bay in Saint Martin’s, Guernsey. Guernsey is one of the Channel Islands in the English Channel, and it has a varied landscape that includes beaches, cliffs and bays. These paintings were the subject of a set of commemorative postage stamps issued by the Bailiwick of Guernsey in 1983.

While living and working in Montmartre, Renoir employed Suzanne Valadon as a model, posing for him (The Bathers, 1885–87; Dance at Bougival, 1883) and many of his fellow painters while studying their techniques; eventually she became one of the leading painters of the day.

In 1887, the year when Queen Victoria celebrated her Golden Jubilee, and upon the request of the queen’s associate, Phillip Richbourg, Renoir

La Grenouillere (Bathing at la Grenouiller) -Pierre-Auguste Renoir

La Grenouillere (Bathing at la Grenouiller) -Pierre-Auguste Renoir

donated several paintings to the “French Impressionist Paintings” catalog as a token of his loyalty.

In 1890, he married Aline Victorine Charigot, who, along with a number of the artist’s friends, had already served as a model for Le Déjeuner des canotiers (Luncheon of the Boating Party, 1881), and with whom he had already had a child, Pierre, in 1885. After his marriage, Renoir painted many scenes of his wife and daily family life including their children and their nurse, Aline’s cousin Gabrielle Renard. The Renoirs had three sons, Jean Renoir became a filmmaker of note, Pierre Renoir, became a stage and film actor.

The Two Sister on the Terrace- Pierre-Auguste Renoir

The Two Sister on the Terrace- Pierre-Auguste Renoir

Around 1892, Renoir developed rheumatoid arthritis. In 1907, he moved to the warmer climate of “Les Collettes,” a farm at Cagnes-sur-Mer, close to the Mediterranean coast. Renoir painted during the last twenty years of his life even when he was wheelchair-bound and arthritis severely limited his movement. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to change his painting technique. It has often been reported that in the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers, but this is erroneous; Renoir remained able to grasp a brush, although he required an assistant to place it in his hand. The wrapping of his hands with bandages, apparent in late photographs of the artist, served to prevent skin irritation.

In 1919, Renoir visited the Louvre to see his paintings hanging with those of the old masters. During this period, he created sculptures by cooperating with a young artist,Richard Guino, who worked the clay. Due to his limited joint mobility, Renoir also used a moving canvas, or picture roll, to facilitate painting large works.

Renoir’s portrait of Austrian actress Tilla Durieux (1914) contains playful flecks of vibrant color on her shawl that offset the classical pose of the actress and highlight Renoir’s skill just 5 years before his death.

Renoir died in the village of Cagnes-sur-Mer, Provence-Alpes-Côte d’Azur, on 3 December 1919.

Renoir’s paintings are notable for their vibrant light and saturated colour, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed

La Roge- Pierre-Auguste Renoir

La Roge- Pierre-Auguste Renoir

touches of color, so that his figures softly fuse with one another and their surroundings.

His initial paintings show the influence of the colorism of Eugène Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Édouard Manet, and his early work resembles theirs in his use of black as a color. Renoir admired Edgar Degas’ sense of movement. Another painter Renoir greatly admired was the 18th-century master François Boucher.[14]

A fine example of Renoir’s early work and evidence of the influence of Courbet’s realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work; the figure carefully observed, solidly modeled and superimposed upon a contrived landscape. If the work is a ‘student’ piece, Renoir’s heightened personal response to female sensuality is present. The model was Lise Tréhot, the artist’s mistress at that time, and inspiration for a number of paintings.

In the late 1860s, through the practice of painting light and water en plein air (outdoors), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them; an effect today known as diffuse reflection. Several pairs of paintings exist in which Renoir and Monet worked side-by-side, depicting the same scenes (La Grenouillère, 1869).

A Girl with a Watering Can, 1876- Pierre-Auguste Renoir

A Girl with a Watering Can, 1876- Pierre-Auguste Renoir

One of the best known Impressionist works is Renoir’s 1876 Dance at Le Moulin de la Galette (Bal du moulin de la Galette). The painting depicts an open-air scene, crowded with people at a popular dance garden on the Butte Montmartre close to where he lived. The works of his early maturity were typically Impressionist snapshots of real life, full of sparkling color and light. By the mid-1880s, however, he had broken with the movement to apply a more disciplined formal technique to portraits and figure paintings, particularly of women, as in The Bathers, created during 1884–87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style in an attempt to return to classicism. Concentrating on his drawing and emphasizing the outlines of figures, this is sometimes called his “Ingres period”.

After 1890 he changed direction again. To dissolve outlines, as in his earlier work, he returned to thinly brushed color. From this period onward he concentrated on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1887. The latter painting is the most typical and successful of Renoir’s late, abundantly fleshed nudes.

A prolific artist, he created several thousand paintings. The warm sensuality of Renoir’s style made his paintings some of the most well-known and frequently-reproduced works in the history of art. The single largest collection of his works—181 paintings in all—is at the Barnes Foundation, in Philadelphia.

Biography is from wikipedia.

“The pain passes, but the beauty remains.”
― Pierre-Auguste Renoir

I hope you enjoy my piece today.  It was quite a challenge, but I think I pulled it off. 🙂 It’s a self-portrait of myself as a child. I will see you tomorrow on Day 354.

Best,

Linda

Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir Linda Cleary 2014 Acrylic on Canvas

Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir
Linda Cleary 2014
Acrylic on Canvas

Side-View Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir Linda Cleary 2014 Acrylic on Canvas

Side-View
Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Petite Fille dans le Manteau Rouge Chinois- Tribute to Pierre-Auguste Renoir
Linda Cleary 2014
Acrylic on Canvas

 

Day 237- Paul Cézanne- “The Father of Us All”

It’s Day 237 and it’s funny because I thought I had already done a tribute to today’s artist!  I think that’s a side-effect to this project at this point.  I can’t even remember all the artists I’ve done.  I am however feeling a little pressure to do the famous/greats of our times and the intimidation factor is heightening!  Join me in honoring Paul Cézanne today!

Paul Cezanne

Paul Cezanne

Apples 1878- Paul Cezanne

Apples 1878- Paul Cezanne

Paul Cézanne (US /sˈzæn/ or UK /sɨˈzæn/French: [pɔl sezan]; 1839–1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne’s often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne’s intense study of his subjects.

Cézanne can be said to form the bridge between late 19th-century Impressionism and

Still life with a Ginger Jar and Eggplants- Paul Cezanne

Still life with a Ginger Jar and Eggplants- Paul Cezanne

the early 20th century’s new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne “is the father of us all.”

The Cézannes lived in the town of Cesana now in West Piedmont, and the surname may be of Italian origin. Paul Cézanne was born on 19 January 1839 in Aix-en-Provence, inProvence in the South of France. On 22 February, Paul was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents.  His father, Louis-Auguste Cézanne (28 July 1798 – 23 October 1886), was the co-founder of a banking firm that prospered throughout the artist’s life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.

His mother, Anne Elisabeth Honorine Aubert (24 September 1814 – 25 October 1897), was “vivacious and romantic, but quick to take offence”. It was from her that Cézanne got his conception and vision of life. He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.

Still Life With Skull - Paul Cezanne

Still Life With Skull – Paul Cezanne

At the age of ten Paul entered the Saint Joseph school in Aix.  In 1852 Cézanne entered the Collège Bourbon (now Collège Mignet), where he met and became friends with Émile Zola, who was in a less advanced class, as well as Baptistin Baille—three friends who would come to be known as “les trois inséparables” (the three inseparables). He stayed there for six years, though in the last two years he was a day scholar. In 1857 he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk. From 1858 to 1861, complying with his father’s wishes, Cézanne attended the law school of the University of Aix, while also receiving drawing lessons.

Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with Cézanne and supported his choice of career. Cézanne later received an inheritance of 400,000 francs (£218,363.62) from his father, which rid him of all financial worries.

In Paris, Cézanne met the Impressionist Camille Pissarro. Initially the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working relationship between equals.

Cézanne’s early work is often concerned with the figure in the landscape and includes many paintings of groups of large, heavy figures in the

Still life with Apples- Paul Cezanne

Still life with Apples- Paul Cezanne

landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light, airy painting style. Nevertheless, in Cézanne’s mature work there is the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement “I want to make of impressionism something solid and lasting like the art in the museums”, and his contention that he was recreating Poussin “after nature” underscored his desire to unite observation of nature with the permanence of classical composition.

Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to “treat nature by the cylinder, the sphere, the cone” (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Cézanne’s desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective. Cézanne’s innovations have prompted critics to suggest such varied explanations as sick retinas, pure vision, and the influence of the steam railway.

Self-Portrait- Paul Cezanne

Self-Portrait- Paul Cezanne

Cézanne’s paintings were shown in the first exhibition of the Salon des Refusés in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cézanne’s submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited Portrait of Louis-Auguste Cézanne, Father of the Artist, reading ‘l’Evénement’, 1866 (National Gallery of Art, Washington, D.C.), his first and last successful submission to the Salon.

Before 1895 Cézanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition. Despite the increasing public recognition and financial success, Cézanne chose to work in increasing artistic isolation, usually painting in the south of France, in his beloved Provence, far from Paris.

He concentrated on a few subjects and was equally proficient in each of these genres: still lifes,

Mont Sainte Victoire- Paul Cezanne

Mont Sainte Victoire- Paul Cezanne

portraits, landscapes and studies of bathers. For the last, Cézanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet. The ‘props’ for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix.

Although religious images appeared less frequently in Cézanne’s later work, he remained a devout Roman Catholic and said, “When I judge

Portrait of Madame Cezanne- Paul Cezanne

Portrait of Madame Cezanne- Paul Cezanne

art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art.”

Cézanne’s paintings were not well received among the petty bourgeoisie of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola’s possession and published on 9 March 1903 in L’Intransigeant a highly critical article entitled “Love for the Ugly”. Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of “an ultra-impressionist named Cézanne”. Erroneously believing that Cézanne’s paintings in fact represented “the art dear to Zola” (Rochefort’s Dreyfusard arch-enemy), he drew connections between “Dreyfusard snobs,” so-called after the French officer who was accused but innocent of having sold defense plans to Germany, and Zola’s supposedly cherished artist, Cézanne. The public in Aix was outraged, and for many days, copies of L’Intransigeant appeared on Cézanne’s door-mat with messages asking him to leave the town “he was dishonouring”.

Still Life Pitcher and Fruit 1894- Paul Cezanne

Still Life Pitcher and Fruit 1894- Paul Cezanne

One day, Cézanne was caught in a storm while working in the field. Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness. On the following day, he intended to continue working, but later on he fainted; the model with whom he was working called for help; he was put to bed, and he never left it. He died a few days later, on 22 October 1906. He died of pneumonia and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.

Partial biography is from wikipedia.  It’s a very long one so if you’re interested in all his eras/styles please visit it!

~

Reference for my piece.  Apples from my neighbors tree that fall into my backyard. :)

Reference for my piece. Apples from my neighbors tree that fall into my backyard. 🙂

I of course had to do a still life with apples!  I hope you enjoy my piece.  I am really working hard to get the impressionistic painting style down and I think I’m getting more comfortable with it.  The only issue I have with this piece is the shadows of the apples on the plate…I’m going to have to play around with shading and experiment more with that.  I feel like it may be a little too hard edged.  OR I’m just over-analyzing things.   I still feel like I could’ve been a little softer with the shading.  Anyways, hope you enjoy and I’ll see you tomorrow on Day 238!

Best,

Linda

Still Life with Apples- Tribute to Paul Cezanne Linda Cleary 2014 Acrylic on Canvas

Still Life with Apples- Tribute to Paul Cezanne
Linda Cleary 2014
Acrylic on Canvas

Side-View Still Life with Apples- Tribute to Paul Cezanne Linda Cleary 2014 Acrylic on Canvas

Side-View
Still Life with Apples- Tribute to Paul Cezanne
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Still Life with Apples- Tribute to Paul Cezanne Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Still Life with Apples- Tribute to Paul Cezanne
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Still Life with Apples- Tribute to Paul Cezanne Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Still Life with Apples- Tribute to Paul Cezanne
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Still Life with Apples- Tribute to Paul Cezanne Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Still Life with Apples- Tribute to Paul Cezanne
Linda Cleary 2014
Acrylic on Canvas

 

Day 236- Claude Monet- Never Finished

It’s Day 236 and I had a nice relaxing day.  Spent quite a bit of time on my tribute today since the artist is one of the most renown artist’s in history!  Join me in honoring Claude Monet today.

Claude Monet- Self Portrait

Claude Monet- Self Portrait

Poppy Field near Giverny 1885- Claude Monet

Poppy Field near Giverny 1885- Claude Monet

Oscar-Claude Monet (French: [klod mɔnɛ]; 14 November 1840 – 5 December 1926) was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement’s philosophy of expressing one’s perceptions before nature, especially as applied to plein-air landscape painting. The term “Impressionism” is derived from the title of his painting Impression, soleil levant (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.

Monet’s ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, and began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life.

From the late 1860s, Monet and other like-minded artists met with rejection from the conservative Académie des Beaux-Artswhich held its

Waterlilies Giverny- Claude Monet

Waterlilies Giverny- Claude Monet

annual exhibition at the Salon de Paris. During the latter part of 1873, Monet, Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley organized the Société anonyme des artistes peintres, sculpteurs et graveurs (Cooperative and Anonymous Association of Painters, Sculptors, and Engravers) to exhibit their artworks independently. At their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name.

Impression, Sunrise was painted in 1872, depicting a Le Havre port landscape. From the painting’s title the art critic Louis Leroy, in his review, “L’Exposition des Impressionnistes,” which appeared in Le Charivari, coined the term “Impressionism”. It was intended as disparagement but the Impressionists appropriated the term for themselves.

Field of Corn- Claude Monet

Field of Corn- Claude Monet

Claude Monet was born on 14 November 1840 on the 5th floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the second son of Claude Adolphe Monet and Louise Justine Aubrée Monet, both of them second-generation Parisians. On 20 May 1841, he was baptized in the local parish church, Notre-Dame-de-Lorette, as Oscar-Claude, but his parents called him simply Oscar. (He signed his juvenilia “O. Monet”.) Despite being baptized Catholic, Monet later became an atheist.

In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery business, but Monet wanted to become an artist. His mother was a singer.

On 1 April 1851, Monet entered Le Havre secondary school of the arts. Locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artistEugène Boudin, who became his mentor and taught him to use oil paints. Boudin taught Monet “en plein air” (outdoor) techniques for painting. Both received the influence ofJohan Barthold Jongkind.

On 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, Marie-Jeanne

Claude Monet - A Pathway in Monet's Garden A Pathway in Monet's Garden

Claude Monet – A Pathway in Monet’s Garden A Pathway in Monet’s Garden

Lecadre.

When Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would instead go and sit by a window and paint what he saw. Monet was in Paris for several years and met other young painters, including Édouard Manet and others who would become friends and fellow Impressionists.

In June 1861, Monet joined the First Regiment of African Light Cavalry in Algeria for a seven-year commitment, but, two years later, after he had contracted typhoid fever, his aunt intervened to get him out of the army if he agreed to complete an art course at an art school. It is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter. Disillusioned with the traditional art taught at art schools, in 1862 Monet became a student of Charles Gleyre in Paris, where he met Pierre-Auguste Renoir, Frédéric Bazille and Alfred Sisley. Together they shared new approaches to art, painting the effects of light en plein air with broken color and rapid brushstrokes, in what later came to be known as Impressionism.

The Poppy Field near Argenteuil- Claude Monet

The Poppy Field near Argenteuil- Claude Monet

In January 1865 Monet was working on a version of Le déjeuner sur l’herbe, aiming to present it for hanging at the Salon, which had rejected Manet’s Le déjeuner sur l’herbe two years earlier.  Monet’s painting was very large and could not be completed in time. (It was later cut up, with parts now in different galleries.) Monet submitted instead a painting of Camille or The Woman in the Green Dress (La femme à la robe verte), one of many works using his future wife, Camille Doncieux as his model. This painting and a small landscape both were both hung.

The following year Monet used Camille for his model in Women in the Garden, and On the Bank of the Seine, Bennecourt in 1868. Camille became pregnant and gave birth to their first child, Jean, in 1867. Monet and Camille married on 28 June 1870, just before the outbreak of the Franco-Prussian War, and, after their excursion to London and

Claude Monet

Claude Monet

Zaandam, they moved to Argenteuil, in December 1871. During this time Monet painted various works of modern life. He and Camille lived in poverty for most of this period. 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.

The first Impressionist exhibition was held in 1874 at 35 boulevard des Capucines, Paris, from 15 April to 15 May. The primary purpose of the participants was not so much to promote a new style, but to free themselves from the constraints of the Salon de Paris. The exhibition, open to anyone prepared to pay 60 francs, gave artists the opportunity to show their work without the interference of a jury.

Renoir chaired the hanging committee and did most of the work himself, as others members failed to present themselves.

Venice Twilight- Claude Monet

Venice Twilight- Claude Monet

In addition to Impression: Sunrise (pictured above) Monet presented four oil paintings and seven pastels. Among the paintings he displayed was The Luncheon (1868), which features Camille Doncieux and Jean Monet, and which had been rejected by the Paris Salon of 1870. Also in this exhibition was a painting titled Boulevard des Capucines, a painting of the boulevard done from the photographer Nadar’s apartment at no. 35. Monet painted the subject twice and it is uncertain which of the two pictures, that now in the Pushkin Museum in Moscow, or that in the Nelson-Atkins Museum of Art in Kansas City was the painting that appeared in the groundbreaking 1874 exhibition, though more recently the Moscow picture has been favored.  Altogether, 165 works were exhibited in the exhibition, including 4 oils, 2 pastels and 3 watercolors by Morisot; 6 oils and 1 pastel by Renoir; 10 works by Degas; 5 by Pissarro; 3 by Cézanne; and 3 by Guillaumin. Several works were on loan, including Cézanne’s Modern Olympia, Morisot’s Hide and Seek (owned by Manet) and 2 landscapes by Sisley that had been purchased by Durand-Ruel.

The total attendance is estimated at 3500 and some works did sell, though some exhibitors had placed their prices too high. Pissarro was asking 1000 francs for The Orchard and Monet the same for Impression: Sunrise, neither of which sold. Renoir failed to obtain the 500 francs he was asking for La Loge, but later sold it for 450 francs to Père Martin, dealer and supporter of the group.

After several difficult months following the death of Camille, Monet began to create some of his best paintings of the 19th century. During the

Camille Monet on a Bench- Claude Monet

Camille Monet on a Bench- Claude Monet

early 1880s, Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. These began to evolve into series of pictures in which he documented the same scene many times in order to capture the changing of light and the passing of the seasons.

At the beginning of May 1883, Monet and his large family rented a house and 2 acres (8,100 m2) from a local landowner. 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 offered many suitable motifs for Monet’s work. The family worked and built up the gardens and Monet’s fortunes began to change for the better as his dealer Paul Durand-Ruel had increasing success in selling his paintings. By November 1890, Monet was prosperous enough to buy the house, the surrounding buildings and the land for his gardens. During the 1890s, Monet built a greenhouse and a second studio, a spacious building well lit with skylights.

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.

Monet purchased additional land with a water meadow. In 1893 he began a vast landscaping project which included lily ponds that would

The Studio Boat- Claude Monet

The Studio Boat- Claude Monet

become the subjects of his best-known works. 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. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later on the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. This scenery, with its alternating light and mirror-like reflections, became an integral part of his work. By the mid-1910s 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

—Gary Tinterow

Monet’s second wife, Alice, died in 1911 and his oldest son Jean, who had married Alice’s daughter Blanche, Monet’s particular favourite, died in 1914. After Alice died, Blanche looked after and cared for Monet. It was during this time that Monet began to develop the first signs of cataracts.

The Artists House at Argenteuil- Claude Monet

The Artists House at Argenteuil- Claude Monet

During World War I, in which his younger son Michel served and his friend and admirer Clemenceau led the French nation, Monet painted a series of weeping willow trees as homage to the French fallen soldiers. In 1923, he underwent two operations to remove his cataracts. The paintings done while the cataracts affected his vision have a general reddish tone, which is characteristic of the vision of cataract victims. It may also be that after surgery he was able to see certain ultraviolet wavelengths of light that are normally excluded by the lens of the eye; this may have had an effect on the colors he perceived. After his operations he even repainted some of these paintings, with bluer water lilies than before.

Monet died of lung cancer on 5 December 1926 at the age of 86 and is buried in the Giverny church cemetery. Monet had insisted that the occasion be simple; thus only about fifty people attended the ceremony.

His home, garden, and waterlily pond were bequeathed by his son Michel, his only heir, to the French Academy of Fine Arts (part of the Institut de France) in 1966. Through the Fondation Claude Monet, the house and gardens were opened for visits in 1980, following restoration. In addition to souvenirs of Monet and other objects of his life, the house contains his collection of Japanese woodcut prints. The house and garden, along with theMuseum of Impressionism Giverny, are major attractions in Giverny, which hosts tourists from all over the world.

Partial biography is from wikipedia.

“I’m never finished with my paintings; the further I get, the more I seek the impossible and the more powerless I feel. ”
– Claude Monet

I hope I did Claude Monet justice today.  Impressionism is one of the styles of painting that I for some reason find very difficult.  That’s why I had been avoiding him and Van Gogh.  After today, I’m feeling a little better about it.  I hope you enjoy my piece and I will see you tomorrow on Day 237!

Best, Linda

Field of Poppies- Tribute to Claude Monet Linda Cleary 2014 Acrylic on Canvas

Field of Poppies- Tribute to Claude Monet
Linda Cleary 2014
Acrylic on Canvas

Side-View Field of Poppies- Tribute to Claude Monet Linda Cleary 2014 Acrylic on Canvas

Side-View
Field of Poppies- Tribute to Claude Monet
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Field of Poppies- Tribute to Claude Monet Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Field of Poppies- Tribute to Claude Monet
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Field of Poppies- Tribute to Claude Monet Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Field of Poppies- Tribute to Claude Monet
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Field of Poppies- Tribute to Claude Monet Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Field of Poppies- Tribute to Claude Monet
Linda Cleary 2014
Acrylic on Canvas