This canvas was commissioned to Monet in 1866 by Bazille, being purchased for 2,500 francs payable in monthly installments. Claude painted the work in the garden of his house, taking the scene directly, outdoors, giving up working when there was not enough solar illumination. The figures are full-size, being Camille - the painter's companion - the protagonist of the image when posing for several of the women. This composition is one of the most novel to incorporate important elements that configure the impressionist theory of light and color: it resorted to the contrasts of color learned from Delacroix; the shadows are of color taking the mauve as it is clearly seen in the woman who catches the flowers; the brushstrokes are short and rhythmic, applying the tones with spots; the colors are mixed with white to lighten them. In short, this image can be considered as one of the characteristics of Impressionist painting. However, when it was presented to the Hall of 1867 it was rejected, confirming that the institutions were not in favor of this revolutionary painting.

Collection director: Luis Sanguino Arias

monet-beach-trouville- Monet_claude_camille_at_the_window The art market shows no signs of the global crisis and continues to add to the history of the auction. Now it is the turn of the painting Le bassin aux nymphéas of Monet , one of the largest pieces in the series that the modern painter dedicated to flowers water lilies b>. The two-meter-one painting sold for 51.6 million euros at Christie's Impressionist Art Auction in London. According to experts, the painting is the most important of the series of paintings that Claude Monet dedicated to his garden water lilies . Claude_Monet-Water_Lilies_1916 ************ click image to enlarge

It is not very common to find works by Monet in which the human figure has more relevance than the landscape. The protagonists return to be Camille, its companion, and Jean, its son, as we see in Lunch. Here they are seen from a low perspective, located on a hill where the wind is greater. The light causes a mauve shadow that dominates the whole figure while the shadow that she projects is darker. The areas illuminated by the sun have, obviously, a more lively color. Jean is more blurred in the background, appreciating just the rosy color of his cheeks. Once again the rapid brushstroke, based on small commas, becomes the configurator of the set, eliminating the forms which will provoke the reaction of Cézanne or Renoir. Claude Monet (1840-1926) French painter, born in Paris and deceased in Giverny (Eure), head of the Impressionist movement in Paris. rebellion against the academic tradition of the seventeenth and nineteenth centuries. Son of a corridor of ships, he spent his childhood in the port of Le Havre. He began to take an interest in art at an early age, and when he exhibited some sketches at a warehouse in Le Havre at the age of 15, he attracted the attention of the artist Eugène Boudin.

The artist offered to teach him, disciple painted together on the quays of Le Havre. In 1856 he exhibited his first painting in Rouen. This success affirmed its resolution to dedicate itself to the painting in spite of the paternal opposition. After serving for two years with a regiment in Algeria, he moved to Paris to study at the academy of Gleyre, where he met Renoir, Sisley and Bazille, who were to be his friends and impressionist companions throughout his life. p>

At this time he began to paint the natural and his body became fascinated by the ephemeral qualities of light and air. The first of her paintings in which the delicacy of her later work appeared was Women in the Garden , rejected by the Hall in 1867. This work, exhibited in a private gallery, attracted the attention of Manet, who made the young painter known. The friendship of these two great artists had to last his entire life. Café Guerbois was the center of the Impressionist group, where Monet, Manet, Renoir, Cézanne, Pissarro and others met and talked.

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