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Claude Monet (1840 - 1926)
"By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
"A clear example of Monet's influence can be noted in the change in Degas's art after the middle 1870s when his color began to approach that of the other Impressionists and he employed techniques, particularly in pastel, that gave to the whole a more granular, broken, and flickering effect - qualities not found in his earlier work. That is true also of C¨¦zanne, Pissarro, and Renoir. Monet showed the way, even if the development of the others seemed to diverge from his.
"There is still another reason for Monet's outstanding position as an Impressionist. If we compare his paintings over a short period with the paintings of the others, we see that while the others painted within a restricted range of ideas and even of feelings, so that the Renoirs of the period 1873-76 are characterized by the joyousness in a collective world of recreation described earlier, Monet, with his powerful, ever alert eye, was able to paint at the same time brilliant pictures and also rather grayed ones in neutral tones. He was more reactive, he had more of that quality that psychologists of that time called "Impressionability." That is to say, he was open to more varied stimuli from the common world that for these painters was the evident source of the subjects of their paintings.
Text from "Impressionism: Reflections and Perceptions", by Meyer Schapiro
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| The Beach At Sainte-Adresse |
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| The Boats: Regatta At Argenteuil |
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| The Bodmer Oak, Fontainebleau Forest |
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| The Church At Vetheuil |
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| The Church Of Vernon In The Mist |
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| The garden in flower |
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| The Garden of the Princess |
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| The Gare Saint-Lazare: Arrival Of A Train |
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| The Green Wave |
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| The Headland of the H¨¨ve at Low Tide |
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| The Highway Bridge at rgenteuil |
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| The Hotel Des Roches Noires At Trouville |
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| The Ice-Floes |
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| The Jetty At Le Havre, Bad Weather |
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