CLAUDE MONET
1840 - 1926

BIOGRAPHY

Claude Monet: Painter Born: November 14, 1840 in Paris, France
Died: December 5, 1926

Claude Monet was born on November 15, 1840 in Paris, but his family moved to the port city of Le Havre, France while he was still young. He loved to draw as a child. He began drawing caricatures of people that were quite good. Even as a kid he was able to make some extra money drawing pictures of people. Around the age of eleven, Claude entered a school for the arts. His mother supported his becoming an artist, but his father wanted him to take over the family grocery business. Claude met some other artists around this time and began to use oil paints to paint the outdoors. Moving to Paris A few years after his mother died in 1857, Claude moved to Paris to study art at the Academie Suisse. He was there for about a year when he was drafted into the army. He became sick with typhoid fever in the army and returned home a few years later. Women in the Garden Monet continued to paint outdoor scenes. His paintings were becoming accepted by the art critics in Paris. He then decided to take on large project he called Women in the Garden. This was a huge painting, over eight feet tall, that he painted outside in the natural light. It was a normal everyday scene. He spent a lot of time on it, but the critics did not like it. He became depressed and was also out of money. London War broke out in France in 1870 and Claude moved with is new wife, Camille, to London. There he met art dealer Paul Durand-Ruel who would become one of his strongest supporters. At this time Monet began to study the relation of the city of London to the River Thames. Impressionists Monet became friends with several of the leading artists of the time including Pierre Renoir, Edouard Manet, and Camille Pissarro. Together they formed the Society of Anonymous Painters, Sculptors, and Printers. They wanted to experiment with art and not do the same classical art that satisfied the art critics of Paris. They organized an exhibition of their art in 1874. One critic called it the Exhibition of the Impressionists. The term "impressionist" was used to imply that the art was just an impression of something and not completed. It was meant as an insult. Impression: Sunrise The critic got the word "impression" from one of Monet's works. It is called Impression: Sunrise. This painting was a great example of the new style. The lighting gives the viewer the feeling or "impression" that the sun is just rising. Monet's use of light was unique. An interesting fact about this picture is the brightness of the sun. It is the same as the sky. If you turn this picture into a black and white picture, the sun virtually disappears.

The Post-Impressionism

Post-Impressionism in Western painting, movement in France that represented both an extension of Impressionism and a rejection of that style's inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Claude Monet, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. All of these painters except van Gogh were French, and most of them began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.
The Post-Impressionists often exhibited together, but, unlike the Impressionists, who began as a close-knit, convivial group, they painted mainly alone. Cézanne painted in isolation at Aix-en-Provence in southern France; his solitude was matched by that of Paul Gauguin, who in 1891 took up residence in Tahiti, and of van Gogh, who painted in the countryside at Arles. Both Gauguin and van Gogh rejected the indifferent objectivity of Impressionism in favour of a more personal, spiritual expression. After exhibiting with the Impressionists in 1886, Gauguin renounced "the abominable error of naturalism." With the young painter Émile Bernard, Gauguin sought a simpler truth and purer aesthetic in art; turning away from the sophisticated, urban art world of Paris, he instead looked for inspiration in rural communities with more traditional values. Copying the pure, flat colour, heavy outline, and decorative quality of medieval stained glass and manuscript illumination, the two artists explored the expressive potential of pure colour and line, Gauguin especially using exotic and sensuous colour harmonies to create poetic images of the Tahitians among whom he would eventually live. Arriving in Paris in 1886, the Dutch painter van Gogh quickly adapted Impressionist techniques and colour to express his acutely felt emotions. He transformed the contrasting short brushstrokes of Impressionism into curving, vibrant lines of colour, exaggerated even beyond Impressionist brilliance, that convey his emotionally charged and ecstatic responses to the natural landscape.
In general, Post-Impressionism led away from a naturalistic approach and toward the two major movements of early 20th-century art that superseded it: Cubism and Fauvism, which sought to evoke emotion through colour and line.