He contracted a case of typhoid during his service and his aunt Madame Lecadre took charge of his health and insisted that he repay her by returning to Paris and making a serious attempt at completing a formal artistic tuition course.ĭetermined to contradict the more traditional artist Monet joined the studio of the Swiss-born Charles Gleyre. His later landscapes and colors of Algeria presented an entirely different perspective of the world and profoundly affected the art world for years. Three years later Monet was called to duty with the prestigious regiment: les Chaussures d'Afrique. In 1859, Monet left for Paris, but became quickly disillusioned and rejected the formal art training. The two painters met in 1856 at Le Havre and formed a lifelong friendship. Boudin was determined in his ideas of painting outdoors or en plein air. So much so that by the age of fifteen, he was receiving commissions for his work.Įarly influences of Euégne Boudin are evident in his works. The only subject which seemed to spark any interest in the child was painting and developed a decent reputation in school for the caricatures he was fond of creating. He displayed no interest in inheriting his father's wholesale grocery. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naive impression of the scene before you." He said he wished he had been born blind and then suddenly gained his sight so that he could have begun to paint in this way without knowing what the objects were that he saw before himĪs a child Monet was considered to be undisciplined and, not likely to make a success of his life. I remember his once saying to me: "When you go out to paint, try to forget what objects you have before you-a tree, a house, a field, or whatever. Lila Cabot Perry, a student of Monet's late in his career, described his approach as The eye feels bathed in light that seems to come from the painting itself. Color was used to dominate the work with the glow of the sun low on the horizon, bouncing off clouds in the sky and streaming across rippling water to reflect back up onto a symphony of grays, brown, and golds on the side of the rocks. His response to lighting and atmospheric conditions in terms of color, which he dabbed on the canvas surface with thick strokes, caused the surface of the painting to shimmer. Of the Impressionists, Claude Monet carried the color method the furthest.
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