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Claude Monet was one of the most renowned French Impressionist painters of the 19th century. He was born Oscar-Claude Monet on November 14, 1840 in Paris. His father, Adolphe Monet, worked as a grocer, while his mother, Louise-Justine Aubrée Monet, often sang in the local church choir.
When Monet was five years old, his family moved from Paris to Le Havre, a port town in Normandy along the English Channel. The coastlines and seascapes surrounding Le Havre would later become recurring subjects in many of Monet's paintings. However, as a youth, art did not feature prominently in his interests. Instead, he enjoyed exploring the beaches and countryside in his free time.
At the age of fifteen, Monet's aunt, Marie-Jeanne Lecadre, purchased a box of oil paints for him. This piqued his interest in the artistic medium. Monet began creating charcoal caricatures and sketched the urban landscapes surrounding him. His father and the local municipality were impressed with his emerging talents. They granted him a small allowance so Monet could focus more wholly on his artwork instead of prioritizing other jobs or studies.
In 1856, at the age of sixteen, Monet entered the Le Havre secondary school of the arts. He began studying under Jacques-François Ochard, among other teachers and students. However, Monet struggled to fit into the prescribed approach toward painting being taught in the program. He said: "They wanted to make me draw like everyone else. Drawing doesn't consist simply of tracing lines with a pencil. It consists of drawing with one's eyes what one sees. Otherwise, what's the use?"
Instead of conforming, Monet opted to leave school in 1857 to live independently as an artist in the Normandy region. Initially working as a caricaturist who would sell his humorous sketches to locals, his landscape paintings increasingly took precedence. As his style matured, Monet started focusing more on depicting how sunlight and atmospheric conditions altered perceptions of nature at different times of day or seasons of the year.
In 1859, Monet relocated to Paris to study at the Academie Suisse. There he met fellow artist Camille Pissarro, who would go on to be a close friend and mentor to the budding Impressionist. Pissarro helped encourage Monet to begin painting outdoors in natural light rather than just within a studio setting. Monet also met artists like Edouard Manet who provided inspiration and friendship during this period.
However, like most young men of his era, Monet had to interrupt his studies in order to serve in the military. In 1860, he was drafted into the First Regiment of African Light Cavalry. While stationed in Algeria for two years, Monet avoided battle but contracted typhoid fever instead. The sickness was severe enough that the artist thought he might die. Monet credited his survival to his paramour (and later wife) Camille Doncieux, who took great care of him throughout the ordeal.
After the military, Monet struggled greatly from poverty in 1862 and 1863. Occasionally homeless and hungry, he channeled his frustrations into creating emotionally turbulent artwork like Des Glaneuses (The Gleaners). His sympathetic portrayals of impoverished women harvesting wheat fields did not attract buyers or critical acclaim at the time.
The next year proved monumental for the burgeoning painter. Monet entered paintings into an exhibition held by the Salon de Paris, a prestigious art show in France. Out of hundreds that were submitted, the Salon chose to display two seascapes that Monet painted while living in Le Havre – La Pointe de la Hève at Low Tide and The Port of Trouville. The positive exposure introduced Monet's artwork to the Parisian public for the first time.
Emboldened by the success, Monet became more ambitious. He started gathering with other like-minded artists who were also interested in conveying the fleeting qualities of light and color. Monet even asked his partner Camille to wear an elaborate green and black velvet dress so he could paint her within a forested environment. This portrait, Camille (also called The Green Dress), was rejected by the Salon in 1866. Yet its intensely vibrant colors and visible brushstrokes would prove fundamental to the artistic movement that became known as Impressionism in subsequent years.
Wanting to further enhance his depictions of nature, Monet invested in a small boat that he could convert into a floating studio. With portable easels and canvases in tow, he started creating paintings onboard while floating along the Seine River. This gave the artist new perspectives and inspiration as the ambient light shifted upon the water's surface. Some of his peers, like Eduouard Manet, also began adopting Monet's en plein air painting style with success.
However, tragedy struck Monet's personal life during this period. His companion Camille became ill following the birth of their first son, Jean, in 1867. Her health declined further over the next few years, which caused financial and emotional strain on the household. Hoping that relocation might improve Camille's wellbeing, Monet moved his small family in 1869 to a cottage within a sleepy hamlet called La Grenouillère. Surrounded by calm waters filled with water lilies, wisteria vines along the stone bridge, La Grenouillère offered vibrant nature vistas that the Impressionists relished painting.
Sadly, Camille Monet died in 1879 at the young age of thirty-two after battling tuberculosis for several years. Monet painted mournfully in solitude along the Seine in the months after her passing. But by the next year, he was living with Alice Hoschedé - who became his second wife some years later once she was widowed as well. Blending their families, the two moved with their collective brood of children into a larger home they named Maison Monet. Situated within the pastoral town Giverny, this estate hosted many of Monet's famous friends like Auguste Renoir for long painting sessions in the countryside over ensuing summers.
The 1880s marked both blessings and challenges for Monet. He experienced the joys of fatherhood multiple times with Alice and enjoyed financial stability at last. His paintings steadily gained renown among collectors and art critics who appreciated his signature style conveyed through pieces like Sunrise (Marine), Fishing Boats at Étretat, and Bordighera.
Monet traveled extensively during the decade as well. He ventured along the Mediterranean Coast, finding adventure and scenic views from Gibraltar to Genoa that allowed the transient effects of sunlight on water to permeate his work. Back in France, he was also becoming recognized as an anchor of the Impressionist movement that was shaking up the art establishment.
Yet conflicts arose too, jeopardizing the group solidarity vital to leveraging their collective talents against a resistant Salon system. Monet's famous painting Impression, Sunrise stoked internal strife in 1874 after critic Louis Leroy scornfully used the title as the basis for dubbing them "the Impressionists." Some members of the core group like Édouard Manet refused to be labeled as such. Arguments over public exhibitions led Edgar Degas and Camille Pissarro to formally dissolve the Impressionist group in 1886 as well.
Fortunately, while factions among French Impressionists feuded off and on for many years, Monet's own production remained prolific and inventive. He pushed the techniques of en plein air painting to new heights while living in rural villages like Argenteuil and Vétheuil throughout much of the 1880s. Surrounded by nature and immersed in local motifs like haystacks that shapeshifted under the seasonal light, Monet found beauty and reverie to channel onto the canvas.
In 1883, a successful show of over sixty paintings at the Galerie Durand-Ruel in Paris introduced Monet's work to important American patrons like Mary Cassatt. His income and acclaim abroad freed Monet from having to participate in the Salon's sanctioned art shows any longer. Instead of abiding by others' restrictive rules, he gained the financial security from eager buyers to determine his own creative direction moving forward.
The 1890s brought stunning productivity within Monet's sprawling estate gardens at Giverny. Selling off decorative paintings of the traditional rural lifestyle adorning his home, the Impressionist shifted almost entirely into landscape artwork resonating with vibrant color and abstracted details. He became wholly devoted to vividly capturing how sunlight endlessly transfo -
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