Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . Impressionist and is the true founder of Impressionism! In him Impressionismfound its most complete formula. Monet advanced without everdeviating from the path upon which he originally entered. In allplaces he painted in the open air; he proceeded uninterruptedlyto put into his canvases ever brighter colours and more sparklinglight. He left Paris at an early period, and went to live at he remained for several years, painting the Seine and itsbanks
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . Impressionist and is the true founder of Impressionism! In him Impressionismfound its most complete formula. Monet advanced without everdeviating from the path upon which he originally entered. In allplaces he painted in the open air; he proceeded uninterruptedlyto put into his canvases ever brighter colours and more sparklinglight. He left Paris at an early period, and went to live at he remained for several years, painting the Seine and itsbanks, and also the flowers and clumps of bushes in his from Argenteuil by the German occupation at the time ofthe* siege, he sought refuge in Holland. There he painted viewsof the canals. At this time he became acquainted with Japanesecolour-prints, particularly those of Hiroshige, which compelled hisadmiration. Under the influence of their vibrant colour, his palettebecame still brighter. In certain of his pictures, especially in someof those executed in Holland, the use of vivid tones laid boldly. CLAUDE MONET 141 side by side, indicates his study of Japanese methods. He paidanother visit to Holland, at a later period, and painted tulips inflower at Haarlem. From Holland he passed to England, early in1871. In London he painted views of the Thames and the his return to France after the war and the Commune, he againtook up his residence at Argenteuil, and once more began to paintthe banks of the Seine. He also painted at Paris, in 1877 and1878, the thickets in the Pare Monceau and the Gare Saint-Lazare, with its engines wreathed in clouds of steam. He frequently returned to Le Havre where he had spent hisyouth, and to the adjacent coast where he had first begun to and over again he painted views of Le Havre, Sainte-Adresse,Honfleur, and the cliffs of Normandy. In 1864, 1866, 1867, heworked in Le Havre and the neighbourhood. There he metBoudin agai
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
