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Claude Monet by Monet, Claude; Kalitina, N. N.; Brodskai︠a︡, N. V.

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By Monet, Claude; Kalitina, N. N.; Brodskai︠a︡, N. V.

For Monet, the act of production was once constantly a painful fight. His obsession with shooting gentle results in nature used to be even more severe than that of his contemporaries. In his phrases: "Skills come and move ... artwork is usually an analogous: a transposition of nature that requests as a lot will as sensitivity. I try and fight opposed to the solar ... may still in addition paint with gold and necessary stones."

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Monet from M. Sisley, and the latter’s style from that of M. Pissarro. After a bit of study one learns that M. Monet is the most skilful and the most daring, M. Sisley is the most harmonious and most timid, and M. Pissarro is the most authentic and the most naïve” (L. Venturi, op. , vol. 2, p. 284). They had stopped attending Gleyre’s studio, and together they now left to work in the region favoured by the Barbizon School painters, the Fontainebleau forest. Lodgings were only to be had in the small village of Chailly-en-Bière, at the far end of the forest.

The main stages of this struggle are well-known: The Luncheon on the Grass at the exhibition of the Salon des Refusés in 1863, Olympia in the 1865 Salon, and his one-man show at the time of the World Fair in 1867. By the end of the 1860s Manet was the recognised leader of the Batignolle group of artists and critics, who met in the Café Guerbois and included Edgar Degas, Henri Fantin-Latour, Armand Guillaumin, Louis Endmond Duranty, Zola and Pissarro, as well as the friends from Gleyre’s studio.

Red flowers shimmer in the green grass, coloured pennants flutter in the wind. Sunlight floods his paintings. Monet painted a wonderful, resplendent garden, of the type that is the pride of Normandy. The owners of Normandy gardens rival one another over their horticultural arrangements, which alternate brilliantly coloured beds of flowers with small, scattered flowering trees against a background of a verdant, green lawn. Claude Monet loved these kinds of domestic landscapes, and took his inspiration from the skilful arrangement of nature contrasted with the figures of friends.

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