Claude Oscar Monet.
Website : http://www.Painting-Analysis.com/
Claude Oscar Monet (1840 - 1926)
Claude Monet passes his childhood in Le Havre, where his/her parents hold a small trade. He takes lessons of drawing at sixteen years and becomes gifted for the caricature. He becomes acquainted with Eugene Boudin who encourages it to paint in the open air and to come to study in Paris. Monet is registered with the Swiss academy where it meets Pissarro.
After two years of service military in Algeria it turns over in Le Havre where it paints edges of sea in company of Boudin and Jongkind. In Paris it prepares the Art schools with the workshop of Charles Gleyre. It becomes acquainted with Bazille, Renoir and Sisley with which it paints in the open air in Fontainebleau. To the Show of 1865 Monet exposes two navy. In 1866 with the portrait of his future Camille wife or the Rose Verte it gains a new success but continuous to have serious financial difficulties.
In 1870, it accompanies Pissarro and Daubigny in England where it discovers the English landscape designers of which Turner which influences marvellous Parlement of London (1871). Then it spends one year to the Netherlands then rents a house meadows of Argenteuil where come to work his/her friends painters.
It paints in Le Havre sun Impression raising in 1872, this fabric tightened at the origin of the impressionism term.
Monet fixes himself in Argenteuil which will become the center of the impressionist movement. His Camille wife dies in 1879. In 1883 Monet settles in Giverny where it will live until his death. It goes on journeys in midday, on will riviera Italian, in Venice, in London, in Norway and always brings back series of fabrics which often have as a subject water under various appearances. In 1867 the impressionist painters disperse, Monet exposes then only since 1882, every year with the Durand-Ruel gallery. After its marriage with Alice Hoschedé in 1892 it paints sights of the cathedral of Rouen.
From 1899 until the end of its life Monet works with the immense series of the Nymphea although its sight lowers the last years considerably. In this series the forms dissolve in the light and the space relations are untied so much so that works are practically abstracted.