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The early work up to the mid-1860s comprises realistic paintings, some of which Monet exhibited at the Paris Salon. In the late 1860s Claude Monet began to paint Impressionist paintings. An example of his paintings from this creative period is Impression, Sunrise, a harbour view of Le Havre, which gave the name to the whole movement. He thus moved away from the taste of the time, influenced by the traditional art academies, which worsened his financial situation. In the 1870s Monet took part in some of the Impressionist exhibitions, which also included artists such as Pierre-Auguste Renoir and Edgar Degas, and was particularly encouraged by the art dealer Paul Durand-Ruel.

Claude Monet (* 14 November 1840 in Paris; † 5 December 1926 in Giverny, born Oscar-Claude Monet) was a French painter, a founder of French Impressionist painting and the most consistent and prolific exponent of that movement's philosophy of expressing one's perceptions in front of nature, particularly in relation to landscape painting in the open air. The term "Impressionism" derives from the title of his painting Impression, soleil levant (Impression, Sunrise), exhibited in 1874 at the first Salon des Refusés (Exhibition of the Committee), which Monet and his collaborators organised as an alternative to the Salon de Paris.


Claude Monet


Oil on canvas, 81,0 x 92,0 cm
 Musee d‘Orsay, Paris, France 
 © Bridgeman Images

121 | The Houses of Parliament, London, with the sun breaking through the fog (Londres, le Parlement. Trouée de soleil dans le brouillard) London, das Parlament. Die Sonne bricht durch den Nebel, 1904

Oil on canvas, 101,0 x 200,0 cm
 The Metropolitan Museum of Art, New York, USA
 © Liszt Collection – ARTOTHEK

122 | Water Lilies (Seerosen), 1919

Oil on canvas, 101,0 x 112,0 cm
 Musée d‘Orsay, Paris, France
 © Peter Willi – ARTOTHEK

123 | The Waterlily Pond, Harmony in Pink (Le Bassin aux nymphéas, harmonie rose) Seerosenteich, Harmonie in Rosa, 1900

Oil on canvas, 93,0 x 74,0 cm
 The Metropolitan Museum of Art, New York, USA
 © Hansmann – ARTOTHEK

124 | Bridge over a Pond of Water Lilies (Brücke über einen Seerosenteich), 1899

Oil on canvas, 60,5 x 80,0 cm
 National Gallery of Art, Washington, D.C., USA 
 © Liszt Collection – ARTOTHEK

125 | The Argenteuil Bridge (Le Pont d‘Argenteuil) Die Brücke von Argenteuil, 1874

Oil on canvas, 74,3 x 93,0 cm
 Staatsgalerie Stuttgart, Stuttgart, Germany

126 | Fields in spring (Felder im Frühling), 1887

Oil on canvas, 89,0 x 130,0 cm
 Musée d‘Orsay, Paris, France
 Giraudon © Bridgeman Images

127 | The Magpie (La Pie) Die Elster, c. 1868-1869

Oil on canvas, 89,5 x 100,3 cm
 Gift of Edward Jackson Holmes
 Museum of Fine Arts, Boston, USA
 © akg-images

128 | Water Lilies I (Seerosen I), 1905

Oil on canvas, 89,0 x 93,0 cm
 Th e Pushkin State Museum of Fine Arts, Moscow, Russia
 © akg-images

129 | White Water Lilies (Weiße Seerosen), 1899

Oil on canvas, 60,5 x 100,5 cm
 Musée d‘Orsay, Paris, France

130 | Haystacks, end of Summer (Meules, fin de l‘été) Heuhaufen, Ende des Sommers, 1891

Oil on canvas, 50,0 x 65,0 cm
 Musée d‘Orsay, Paris, France
 © akg-images

131 | Poppy Field (Coquelicots) Mohnfeld, 1873



Monet's desire to document the French landscape led him to paint the same scene over and over again to capture the changing light and passing of the seasons. From 1883 Monet lived in Giverny, where he bought a house and land and began an extensive landscape project that included lily ponds, which would become the subject of his most famous works. He began painting the water lilies in 1899, first in vertical views with a Japanese bridge as the central feature, and later in the series of large-scale paintings that occupied him continuously for the next 20 years of his life. Monet's financial situation remained strained until the 1890s. It was during this period that Monet developed the concept of the series, according to which he painted a motif in different light moods. He also began to lay out his famous garden in Giverny, which he subsequently also used as a motif for his paintings.

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