Length1h 12m
About this audiobook
For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Audiobook details
GenreOther
Length1 hr 12 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
LanguageEnglish
Table of contents
1Introduction
63The Rocks at Belle-Ile, 1886
2Auguste Renoir, Portrait of Claude Monet, 1875
64The Rock Needle of Porte-Coton, 1886
3Biography
65Cliffs at Etretat, 1886
4The Painter with a Pointed Hat, c. 1857
66Haystack at Giverny, 1886
5The Towing of a Boat in Honfleur, 1864
67Sketch for a Figure in Open Air (to the left), 1886
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6Mouth of the Seine River in Honfleur, 1865
68Sketch for a Figure in Open Air (to the right), 1886
7The Chailly Road through the Forest of Fontainebleau, 1865
69In the Row-Boat, c. 1887
8Bazille and Camille, 1865
70Poppy Field, c. 1890
9Woman in a Green Dress (Camille), 1866
71Cap d’Antibes, Mistral, 1888
10Boats in the Port of Honfleur, 1866
72Meadows at Giverny, 1888
11Luncheon on the Grass, c. 1865-1866
73Haystacks at Giverny in Muted Sunlight, 1888-1889
12Women in the Garden, c. 1866
74Haystack near Giverny, 1889
13Garden in Bloom at Sainte-Adresse, c. 1866
75Haystacks, (Sunset, Snow Effect), 1890-1891
14The Beach at Sainte-Adresse, 1867
76Haystack (Thaw, Sunset), 1890-1891
15Lady in the Garden, Sainte-Adresse, 1867
77Poppy Field, 1890-1891
16Luncheon, 1868
78Poplars on the Bank of the Epte River, 1891
17Portrait of Madame Louis Joachim Gaudibert, 1868
79Poplars, 1891
18On the Bank of the Seine, Bennecourt, 1868
80Haystacks, End of an Autumn Day, 1890-1891
19La Grenouillère, 1869
81Rouen Cathedral: Setting Sun, 1892-1894
20The Seine at Bougival, 1869
82The Portal (Morning Fog), 1894
21Entrance to the Port of Trouville, 1870
83Rouen Cathedral in the Evening, 1894
22The Thames Below Westminster, c. 1871
84The Portal of Rouen Cathedral in the Sun, 1893
23Mill in Zaandaam, 1871
85Rouen Cathedral at Noon, 1894
24Woman Reading, 1872
86Winter Landscape (Sandviken), 1895
25Lilacs in Dull Weather, 1872-1873
87Sandvika, Norway, 1895
26The Wooden Bridge, 1872
88Kolsaas Mountain, Misty Weather, 1895
27Camille Monet at the Window, 1873
89Kolsaas Mountain, 1895
28Lilacs in the Sun, 1873
90The Seine at Giverny, Morning Mists, 1897
29Boulevard des Capucines, 1873-1874
91Morning on the Seine, Good Weather, 1897
30Boulevard des Capucines, 1873
92Branch of the Seine at Giverny, Daybreak, 1897
31Poppies at Argenteuil, 1873
93Water Lilies, c. 1897-1898
32Impression: Sunrise, 1875
94Water Lilies and Japanese Bridge, 1899
33The Port of Le Havre (Night Effect), 1873
95Pink Water Lilies, 1897-1899
34The Bridge at Argenteuil, 1874
96Steep Cliffs near Dieppe, 1897
35The Studio Boat, 1874
97Val Saint-Nicolas near Dieppe (Morning), 1897
36La Japonaise (Camille Monet in Japanese Costume), 1876
98The Tip of the Petit Ailly Cloudy Weather, 1897
37Landscape with Figures, Giverny, 1888
99White Water Lilies, 1899
38Woman with a Parasol Madame Monet and her Son, 1875
100London, Waterloo Bridge, 1900
39Corner of the Garden at Montgeron, c. 1876
101Charing Cross Bridge (Overcast Day), 1900
40Pond at Montgeron, c. 1876
102Waterloo Bridge, London, 1900
41The Saint-Lazare Station, 1877
103The Houses of Parliament, Sunset, 1900-1901
42The Railway at the Exit of Saint-Lazare Station, 1877
104The Small Town, Vétheuil, 1901
43Saint-Lazare Station, The Signals, 1877
105Water Lilies, Water Landscape, Clouds, 1903
44Turkeys, 1877
106Water Lilies, 1903
45Rue Montorgueuil June 30th, 1878 Celebration, 1878
107Waterloo Bridge (Effect of Fog), 1903
46Rue Saint-Denis June 30th, 1878 Celebration, c. 1878
108Sea-Gulls (The Thames in London. The Houses of Parliament), 1904
47Snow Effects in Vétheuil or Church in Vétheuil, Snow, 1878-1879
109London, the Houses of Parliament Effects of Sunlight in Fog, 1904
48Camille on Her Deathbed, 1879
110Water Lily Pond, 1907
49Poppy Field near Vétheuil, c. 1879
111Still Life with Eggs, 1907
50Bouquet of Sunflowers, 1881
112San Giorgio Maggiore by Twilight, 1908
51Monet’s Garden in Vétheuil, 1880
113San Giorgio Maggiore, 1908
52The Water-Lily Pond, 1917-1922
114Apples and Grapes, 1880
53Under the Poplars, Sunlight Effect, 1887
115Water Lilies, 1908
54The Varangeville Church, Morning Effect, 1882
116Water Lilies, 1908
55Peaches, 1883
117Water Lilies, 1908
56Etretat, Sunset, 1882-1883
118Water Lilies, 1908
57Bordighera, 1884
119Grand Canal, Venice, 1908
58Etretat, The Rain, 1885-1886
120The Doge’s Palace, 1908
59The Rock Needle through the Porte d’Aval, 1885-1886
121Venice, Palazzo Dario, 1908
60Poppy Field in a Hollow near Giverny, 1885
122The Flowering Arches, Giverny, 1913
61Three Fishing Boats, 1886
123Yellow Irises, c. 1914-1917
62The Rocks at Belle-Ile, 1886
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