By Monet, Claude; Kalitina, N. N.; Brodskai︠a︡, N. V.
For Monet, the act of construction was once constantly a painful fight. His obsession with taking pictures mild results in nature used to be even more severe than that of his contemporaries. In his phrases: "Skills come and cross ... artwork is usually an identical: a transposition of nature that requests as a lot will as sensitivity. I attempt and fight opposed to the solar ... may still besides paint with gold and valuable stones."
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Additional info for Claude Monet
Monet depicted these bridges many a time from many different angles. At times he also painted the train: its amusing little carriages blending in nicely with the landscape. He painted the Seine at Argenteuil using broken brushstrokes of colour, either pure or mixed with white, rapidly applying paint to canvas and completing the painting entirely in the open air. Regattas at Argenteuil (Musée d’Orsay, Paris), a rather small canvas with a dazzling blue sky, a red roof Woman with a Parasol - Madame Monet and Her Son, 1875.
Monet’s particular interest in the reproduction of light is unmistakable, but even in this respect he did not at first go much beyond his predecessors, particularly Boudin and Jongkind. Although we encounter the use of small, individual patches of colour to convey the vibrancy of light, these tend to be exceptions to the general pattern. And yet while in some ways following a well-trodden path, Monet already displayed originality. By no means all young artists find their distinctive creative personality at an early stage.
Camille Corot’s work on the other hand is “nice”, Theodore Rousseau’s is “very good”, Charles-François Daubigny’s is “truly beautiful”, and Troyon is simply “superb”. In Paris, Monet called on Troyon, an animal and landscape painter whose advice Boudin had earlier found valuable. Troyon made recommendations which Monet relayed in his letters to Boudin — he should learn to draw figures, make copies in the Louvre, and should enter a reputable studio, for instance that of Thomas Couture. The Salon of 1859 included no paintings by the leading Realist Courbet, and the jury rejected Millet’s Death and the Woodcutter.