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By Monet, Claude; Brodskaia, Natalʹi︠a︡ Valentinovna

For Monet, the act of construction used to be constantly a painful fight. His obsession with taking pictures mild results in nature used to be even more severe than that of his contemporaries. In his phrases: "Skills come and cross ... artwork is often an identical: a transposition of nature that requests as a lot will as sensitivity. I attempt and fight opposed to the sunlight ... may still in addition paint with gold and necessary stones."A appealing demonstrate of  Read more...

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Monet and his friends lived in the apparently unshakeable Second Empire headed by Napoleon III and supported by a bourgeoisie thirsting for wealth and luxury. 5 cm Virginia Museum of Fine Arts Richmond, Virginia 54 Progressively minded artists longed merely to dissociate themselves, at least spiritually and morally, from the Empire. Thus Monet’s genre paintings, which played a notable role in the first stage of his career, did not, unlike those of Honoré Daumier or Gustave Courbet, touch upon any vital problems in the life of society.

The Lunch 1868 oil on canvas, 230 x 150 cm Städelsches Kunstinstitut und Städtische Galerie Frankfurt 32 33 Corot on the other hand is “nice”, Theodore Rousseau is “very good”, Daubigny is “truly beautiful”, and Troyon is “superb”. Monet called on Troyon, an animal and landscape painter whose advice Boudin had earlier found valuable. Portrait of Madame Gaudibert 1868 oil on canvas, 216 x 138 cm Musée d’Orsay, Paris 34 35 Troyon made recommendations which Monet relayed in his letters to Boudin — he should learn to draw figures, make copies in the Louvre, and should enter a reputable studio, for instance that of Thomas Couture.

These paintings might seem to imply that the essence of Monet’s talent lies in praise of the intimate and the everyday, and in the ability to recognise their beauty and poetry. Poppies at Argenteuil 1873 oil on canvas, 50 x 65 cm Musée d’Orsay, Paris 62 63 But Monet conveys these feelings with even greater depth, subtlety and variety when he turns to landscape. It can be seen from his figure compositions that he is not attracted by man’s inner world or the complexity of human relations.

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