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People discuss my art and pretend to understand as if it were necessary to understand, when it's simply necessary to love.

-Claude Monet

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Claude Monet had a lasting impact on the art world, particularly the world of impressionism. He was able and willing to experiment with his craft, paving the way for other artists to follow in his footsteps. He was notorious for breaking the rules and ignoring the expectations of academics. This created an avenue for artists to explore a more abstract and less classical style of painting. In this exhibition, we will examine impressionist waterscapes painted by Claude Monet. As you explore this exhibition, we will be able to see the way Monet experiments with light and subject matter in his waterscapes. This will create a new appreciation for Monet’s impact on the way that nature, particularly waterscapes, is depicted in art.

The background of this exhibition is a photo of Monet's water garden at Giverny. Monet had a special relationship with his garden and planted his water lilies before he painted them. By drawing inspiration from his garden Monet is able to experiment with waterscapes and nature scenes by further exploring the way that color and light can interact.

It is said that Monet created over 2,000 pieces of work. He dedicated his life to painting, even when he began to lose his sight. Some of his work will never be seen because he was known to destroy his own paintings. The works you will see here barely scratch the surface of what Monet was capable of creating and they still display his genius nonetheless.

Museum of Modern Art (New York, N.Y.). (1960). Claude Monet: seasons and moments. Garden City, N.Y.,[publisher not identified], (https://search.library.wisc.edu/catalog/999696193702121)

The Color Of Water. By: Krauss, Nicole, Art & Antiques, 01958208, December 2003, Vol. 26, Issue 11 (https://web-s-ebscohost-com.ezproxy.library.wisc.edu/ehost/detail/detail?vid=4&sid=354bcb6e-ab9c-466a-9b9e-4615ead7471d%40redis&bdata=JkF1dGhUeXBlPWlwLHVpZCZzaXRlPWVob3N0LWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN=505037947&db=aft)

Water Lilies of Monet - The Magic of Water and Light. Directed by Giovanni Troilo, Mario Paloschi, Claudio Montefusco, 2018.

Claude Monet, French, 1840-1926. Seascape, Storm. Oil on canvas, 1866. Sterling and Francine Clark Art Institute; Williamstown, Mass.; Acquired by Sterling and Francine Clark, 1950, JSTOR, https://jstor.org/stable/community.15651880. Accessed 10 Aug. 2023.

Monet, Claude. "La GrenouillèRe." The Met, www.metmuseum.org/art/collection/search/437135. Accessed 10 Aug. 2023.

Claude Monet. Impression, Sunrise. oil on canvas, 1872. Musée Marmottan, Paris, JSTOR, https://jstor.org/stable/community.18113591. Accessed 10 Aug. 2023.

Monet, Claude, 1840-1926. Flower Beds at Vetheuil. oil on canvas, 1881. Museum of Fine Arts, Boston, JSTOR, https://jstor.org/stable/community.13594520. Accessed 10 Aug. 2023.

Monet, Claude. "The Manneporte near ÉTretat." The Met, www.metmuseum.org/art/collection/search/437119. Accessed 10 Aug. 2023.

Childe Hassam (Dorchester, Massachusetts, 1859 - 1935, East Hampton, New York). Ironbound. oil on canvas, 1896. The Cornell Fine Arts Museum at Rollins College, Winter Park, FL; http://www.rollins.edu/cfam/; Gift of Laura and Sigurd Hersloff in memory of their father, Nils Hersloff, JSTOR, https://jstor.org/stable/community.11911274. Accessed 10 Aug. 2023.

Claude Monet. Water Lilies. Oil on canvas, 1906. The Art Institute of Chicago; Mr. and Mrs. Martin A. Ryerson Collection, JSTOR, https://jstor.org/stable/community.22758099. Accessed 10 Aug. 2023.

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Claude Monet | 1869 | Seascape, Storm | The Metropolitan Museum of Art

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Monet created this piece earlier than some of his other works. This painting is a strong representation of how he used color and light in his paintings. The white brush strokes combined with dark green allow for the light reflecting on the water to be captured in his painting.

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JSTOR is a digital library of academic journals, books, and primary sources.

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Claude Monet | 1869 | La Grenouillère | The Metropolitan Museum of Art

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This piece is yet another example of how Monet is able to capture light reflecting off of the water in his paintings. Monet's waterscapes often contain many different colors that may not be obvious to those who are not looking for them. In this particular piece, he is able to use reflections and shadows to represent what he saw in front of him.

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Claude Monet. Letter to Frédéric Bazille. September 25, 1869 [published in Gaston Poulain, "Bazille et ses amis," La renaissance du livre, Paris, 1932, pp. 161-62], refers to a painting of the baths of La Grenouillère, for which he has made some bad sketches; states that Renoir wants to paint the same subject.

Wynford Dewhurst. Impressionist Painting: Its Genesis and Development. London, 1904, ill. opp. p. 40.

Rudolf Adelbert Meyer. "Manet und Monet." Die Kunst Unserer Zeit 19 (1908), ill. p. 63, erroneously dates it 1870.

Georges Grappe. Claude Monet. Paris, [1909], p. 28, ill. opp. p. 54.

Georges Lecomte. "Claude Monet ou le vieux chêne de Giverny." La Renaissance de l'art français et des industries de luxe 3 (October 1920), ill. p. 405.

Gustave Geffroy. "Claude Monet." L'Art et les artistes, n.s., 2 (October 1920-February 1921), ill. p. 56.

André Fontainas and Louis Vauxcelles. Histoire générale de l'art français de la Révolution à nos jours. Vol. 1, Paris, 1922, ill. p. 135.

Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, p. 262, ill. opp. p. 52.

Louis Vauxcelles. "Claude Monet." L'Amour de l'art 3 (August 1922), ill. p. 236.

Camille Mauclair. Claude Monet. London, [1925], p. 47, pl. 17 [French ed., Paris, 1924].

Florent Fels. Claude Monet. Paris, 1925, ill. p. 41.

Georges Grappe. "Claude Monet." L'art vivant 3 (January 1, 1927), ill. pp. 20-21.

Léon Werth. Claude Monet. Paris, 1928, pl. 9, dates it 1868.

Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 479.

H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 152-53, ill.

Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, p. 106, includes "La Grenouillère à Croissy" by Monet in a list of things sold from Manet's home, possibly this picture.

Stephen Gwynn. Claude Monet and His Garden: The Story of an Artist's Paradise. New York, 1934, p. 168.

Wilhelm Uhde. The Impressionists. Vienna, 1937, pl. 69.

Georges Grappe. Monet. Paris, 1941, ill. p. 33.

Maurice Malingue. Claude Monet. Monaco, 1943, pp. 6, 23, 146, pl. 51.

Preface by Edward Alden Jewell in French Impressionists and Their Contemporaries Represented in American Collections. New York, 1944, ill. p. 101 (color).

John Rewald. The History of Impressionism. New York, 1946, pp. 191-92, 196, ill.

Oscar Reuterswärd. Monet. Stockholm, 1948, pp. 45-48, 280, pl. 12.

Curt Schweicher. Monet. Bern, [1949], p. 13.

The Metropolitan Museum of Art Miniatures, French Impressionists: Manet, Monet, Pissarro, Renoir, and Boudin. Vol. 27, Album 51, New York, 1951, unpaginated, ill. (color).

Maurice Catinat. Les Bords de la Seine avec Renoir et Maupassant. Chatou, 1952, pp. 95-98, ill.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 69.

Douglas Cooper. The Courtauld Collection. London, 1954, p. 44.

Lionello Venturi. Four Steps Toward Modern Art: Giorgione, Caravaggio, Manet, Cézanne. New York, 1956, p. 56, fig. 21.

Margaretta M. Salinger. Claude Monet: 1840-1926. New York, 1957, unpaginated, colorpl. 17 [see Ref. Sterling and Salinger 1967].

Ralph Coe. "Claude Monet in Edinburgh and London." Burlington Magazine 99 (November 1957), p. 382.

Denis Rouart in Claude Monet. [Lausanne], 1958, pp. 8, 46-47, ill. (color).

Adrian Stokes. Monet. London, 1958, p. 9, pl. 2 [see Ref. Wildenstein 1974].

William C. Seitz. Claude Monet. New York, [1960], pp. 23, 84-85, ill. (color).

Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870-1889. Milan, 1966, pp. 89-90, no. 25, ill.

Raymond Cogniat. Monet and His World. London, 1966, pp. 45, 134-35, ill.

Charles Merrill Mount. Monet, a biography. New York, 1966, pp. 183-84.

Linda Nochlin. Impressionism and Post-Impressionism 1874-1904: Sources and Documents. Englewood Cliffs, N.J., 1966, p. 33 n. 8, includes an English translation of Monet's September 25, 1869 letter to Frédéric Bazille and mentions that both Renoir and Monet produced well-known paintings of the subject.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 126-27, ill.

Joel Isaacson. "The Early Paintings of Claude Monet." PhD diss., University of California, Berkeley, 1967, pp. xiii, 224-37, 326-27 n. 32, pl. 79, compares it to Renoir's painting of the same subject (Nationalmuseum, Stockholm).

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.

Denys Sutton. Claude Monet: The Early Years. Exh. cat., Lefevre Gallery. London, 1969, pp. 12-13, fig. VII.

Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 281-82, 286-87, 302-5, fig. 6, questions whether it, with its "virtuoso painting," could really be one of the "bad sketches" mentioned by Monet in his letter to Bazille, but does believe that Monet intended to use the three known versions of this subject (W134-36) as studies for a larger, more finished composition; calls this painting "the starting point from which Impressionism proper was to be developed during the 1870s".

Jean Clay. L'Impressionnisme. [Paris], 1971, p. 95, ill. (color).

Carl R. Baldwin. "The Salon of '72." Art News 71 (May 1972), pp. 21-22, ill., claims that it was rejected by the jury for the 1872 Salon [but see Refs. Wildenstein 1974 and House 1986].

Kermit Swiler Champa. Studies in Early Impressionism. New Haven, 1973, pp. 63-66, colorpl. 11.

John Rewald. "The Impressionist Brush." Metropolitan Museum of Art Bulletin 32, no. 3 (1973/1974), p. 21, no. 12, ill. (color detail).

John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, pp. 227-32, ill.

Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, pp. 5, 7, 15-16, ill.

Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 145-49, no. 27, ill. (color, and black and white detail) [French ed., "Centenaire de l'impressionnisme," Grand Palais, Paris].

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840-1881: Peintures. Lausanne, 1974, pp. 45, 48, 178-79, no. 134, ill., suggests that it may have belonged to Manet, and that Durand-Ruel may have acquired it in 1886 from his widow.

Denis Rouart in Monet, Water-Lilies: Or the Mirror of Time. New York, 1974, pp. 42-43, ill. (overall and detail) [French ed., 1972].

[John House]. "The Roots of the Impressionists." Times Literary Supplement (May 3, 1974), p. 464, in reviewing publications by Champa and Rewald [see Refs. 1973], disagrees with Champa's assertion that the known paintings by Monet of La Grenouillère are not the "bad sketches" mentioned in his letter to Bazille.

Grace Seiberling in Paintings by Monet. Exh. cat., Art Institute of Chicago. Chicago, 1975, pp. 25-26, 28, 73, no. 19, ill.

George Heard Hamilton. "The Philosophical Implications of Impressionist Landscape Painting." Museum of Fine Arts, Houston Bulletin 6 (Spring 1975), pp. 6-7, fig. 2.

Frederick S. Wight. The Potent Image: Art in the Western World from Cave Paintings to the 1970s. New York, 1976, p. 267, ill.

Alice Bellony-Rewald. The Lost World of the Impressionists. London, 1976, pp. 99, 102, 104-5, ill. (color).

John House. Monet. Oxford, 1977, p. 6, colorpl. 8, assumes that Monet's known paintings of La Grenouillère, including this work, were studies for a larger composition, actually completed but now lost, and that "in retrospect, the studies have acquired far greater status than Monet meant for them".

Tetsuro Miura and Chuji Ikegami. Mone [Monet]. Tokyo, 1977, unpaginated, fig. 2 (color).

Lionello Venturi. Cézanne. Geneva, 1978, p. 56, ill.

Anthea Callen. Renoir. London, 1978, pp. 11-12, fig. 5.

Joel Isaacson. Observation and Reflection: Claude Monet. Oxford, 1978, pp. 17-19, 22, 77-78, 201-2, colorpl. 29, pl. 30 (detail).

Joel Isaacson in "'La Débâcle' by Claude Monet." Bulletin, Museums of Art and Archaeology, The University of Michigan 1 (1978), p. 6, fig. 9.

Barbara Ehrlich White, ed. Impressionism in Perspective. Englewood Cliffs, N.J., 1978, pp. 6, 153, fig. 2.

Brian Petrie. Claude Monet, The First of the Impressionists. Oxford, 1979, pp. 34-35, 37, colorpl. 28.

Hélène Adhémar. Hommage à Claude Monet (1840-1926). Exh. cat., Galeries nationales du Grand Palais. Paris, 1980, pp. 11, 20.

Jacques Dufwa. Winds from the East: A Study in the Art of Manet, Degas, Monet and Whistler 1856-86. Stockholm, 1981, pp. 135-36, 207 n. 28, fig. 112.

Michael Wilson. "Monet's 'Bathers at La Grenouillère,' From Plein-air to Impressionism: Monet at La Grenouillère." National Gallery Technical Bulletin 5 (1981), p. 14, fig. 2.

Joel Isaacson. "Impressionism and Journalistic Illustration." Arts Magazine 56 (June 1982), pp. 97, 100, 102, 114 n. 38, p. 115 n. 93, fig. 3.

Robert Gordon and Andrew Forge. Monet. New York, 1983, pp. 43-44, 289, ill. (color).

Richard R. Brettell in A Day in the Country: Impressionism and the French Landscape. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1984, p. 88, under no. 14, calls it "an icon in the history of Impressionism" and accepts Wildenstein's suggestion that it once belonged to Manet.

Ronald Pickvance. "La Grenouillère." Aspects of Monet. Ed. John Rewald and Frances Weitzenhoffer. New York, 1984, pp. 36-51, ill. (color).

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 10, 112-13, 251, ill. (color).

Anne Distel in Renoir. Exh. cat., Hayward Gallery. [London], 1985, p. 192, ill. [French ed., p. 88, ill.].

Charles F. Stuckey, ed. Monet: A Retrospective. New York, 1985, p. 12, ill.

John House in Claude Monet: Painter of Light. Exh. cat., Auckland City Art Gallery. Auckland, New Zealand, 1985, p. 10.

Shunsuke Kijima. Monet. Tokyo, 1985, unpaginated, fig. 8 (color).

Horst Keller. Claude Monet. Munich, 1985, pp. 58, 65, colorpl. 21 (overall and detail).

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 117, 257, colorpl. 76.

Michael Clarke. Lighting up the Landscape: French Impressionism and its Origins. Exh. cat., National Gallery of Scotland. Edinburgh, 1986, pp. 72-73, under no. 87.

John House. Monet: Nature into Art. New Haven, 1986, pp. 51, 53, 59, 77, 136, 147, 161, 205, 235 n. 5, p. 242 n. 38, colorpl. 71, believes that this work and the version now in London (W135) are the "bad sketches" referred to by Monet; suggests that W136 (formerly Arnhold collection, Berlin), which he states is destroyed, was the planned finished composition as well as the "landscape" rejected from the 1870 Salon.

Ronald Pickvance in The New Painting: Impressionism 1874-1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, p. 254.

Hollis Clayson in The New Painting: Impressionism 1874-1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 145, 147, 157, 163, fig. 1 (color).

Douglas Skeggs. River of Light: Monet's Impressions of the Seine. New York, 1987, pp. 57-60, ill. (color).

Robert L. Herbert. Impressionism: Art, Leisure, and Parisian Society. New Haven, 1988, pp. 212-15, colorpls. 211, 213 (overall and detail).

Jack Flam. "In a Different Light." Art News 88 (Summer 1989), pp. 114, 116-17, ill. (color).

Francesco Arcangeli. Monet. Bologna, 1989, p. 43, fig. 23.

Richard Kendall, ed. Monet by Himself. London, 1989, ill. p. 51 (color).

Karin Sagner-Düchting. Claude Monet, 1840-1926: Ein Fest für die Augen. Cologne, 1990, pp. 43, 45-47, 65, ill. (color).

Françoise Cachin, ed. L'art du XIXe siècle, 1850-1905. Paris, 1990, fig. 39 (color).

David Bomford et al. Art in the Making: Impressionism. Exh. cat., National Gallery. London, 1990, p. 120, colorpl. 81.

Sylvie Patin. Monet: 'Un Œil... Mais, Bon Dieu, Quel Œil!'. [Paris], 1991, pp. 30-31, ill. (color).

John House. Monet. 3rd ed. London, 1991, pp. 11, 42, 48, 50, 56, 114, colorpl. 9, compares it to "The Port of Zaandam" (1871, private collection).

Virginia Spate. Claude Monet: Life and Work. New York, 1992, pp. 57-59, fig. 63 (color).

Christian Lassalle. Croissy-sur-Seine: Les impressionnistes à la Grenouillère. Exh. cat., Château Chanorier. [Croissy-sur-Seine], 1992, unpaginated, ill. on cover (color detail), calls the opposition between The Met's picture and Renoir's Stockholm version the most characteristic; compares the choice of colors in The Met's painting to those of a mackerel.

Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 222.

Charles Harrison. "Impressionism, Modernism and Originality." Modernity and Modernism: French Painting in the Nineteenth Century. New Haven, 1993, pp. 160, 167, 170, 174-75, 258, colorpls. 153, 156 (overall and detail), dates it 1869; suggests that Monet's three works were sketches for a single panoramic view, with this work forming the right-hand section.

Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 33, colorpl. 33.

Chuji Ikegami. New History of World Art. Vol. 22, Period of Impressionism. Tokyo, 1993, p. 173, colorpl. 101.

Marianne Alphant. Claude Monet: Une vie dans le paysage. [Paris], 1993, p. 188.

Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 361-62, no. A389, ill.

Jacques G. Laÿ and Monique Laÿ. "Rediscovering La Grenouillère: 'Ars longa, vita brevis'." Apollo 137 (May 1993), p. 282, pl. I.

Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 291, 297, 323, 457 [French ed., Paris].

Gary Tinterow in Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 251, 257, 259, 439-40, no. 147, fig. 322 (color), ill. pp. 257 (color detail), 439 [French ed. "Impressionnisme: Les origines, 1859-1869," Paris].

Impressionist and Modern Paintings, Drawings and Sculpture (Part I). Christie's, New York. November 9, 1994, pp. 44, 46, fig. 5.

Richard Covington. "Impressionism's Lively Beginnings." Art & Antiques 17 (October 1994), pp. 86-87, ill. (color).

Jack Flam. "The New Painting." New York Review of Books (November 17, 1994), pp. 50, 52-53, ill.

Charles F. Stuckey. Claude Monet, 1840-1926. Exh. cat., Art Institute of Chicago. Chicago, 1995, p. 194, no. 18, ill. p. 40 (color), suggests that Monet hoped to show it at the Salon of 1870.

Paul Hayes Tucker. Claude Monet: Life and Art. New Haven, 1995, pp. 42-44, colorpl. 52.

Joachim Pissarro. "Monet at the Art Institute of Chicago." Apollo 142 (December 1995), p. 63.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 473, ill.

Stephan Koja. Claude Monet. Exh. cat., Osterreichische Galerie, Vienna. Munich, 1996, pp. 19, 22-23, 54, 60, 185, ill. (color, overall and detail).

Daniel Wildenstein. Monet. Vol. 2, Catalogue raisonné-Werkverzeichnis: Nos. 1-968. 2nd ed. Cologne, 1996, p. 65, no. 134, ill. (color).

Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874-1886. San Francisco, 1996, vol. 2, p. 41.

Eliza E. Rathbone in Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party". Exh. cat., Phillips Collection. Washington, 1996, pp. 20, 23-24, 255, colorpl. 2.

Barbara Ehrlich White. Impressionists Side by Side: Their Friendships, Rivalries, and Artistic Exchanges. New York, 1996, pp. 64-65, ill. (color).

Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, pp. 76-78, ill. (color).

Alexandra R. Murphy. "Renoir: A Seine Landscape." Christie's International Magazine (January/February 1996), p. 42.

Charles S. Moffett. "An Icon of Modern Art and Life: Renoir's 'Luncheon of the Boating Party'." Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party". Exh. cat., Phillips Collection. Washington, 1996, p. 133.

Götz Adriani. Renoir. Exh. cat., Kunsthalle Tübingen. Cologne, 1996, pp. 29-30, 100, ill. (color).

Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 63, 108, fig. 25.

Susanne Weiss. Claude Monet: Ein distanzierter Blick auf Stadt und Land Werke, 1859-1889. Berlin, 1997, pp. 128-29, fig. 32.

Caroline Durand-Ruel. "Quand les Havemeyers aimaient la peinture française." Connaissance des arts no. 544 (November 1997), p. 108.

Carla Rachman. Monet. London, 1997, pp. 79-82, 152, fig. 56 (color), notes several elements that indicate a change in technique from Monet's earlier work, including stronger color, wider brushstrokes, and a sketchier amount of detail to the figures.

Richard Shiff in Classic Cézanne. Ed. Terence Maloon. Exh. cat., Art Gallery of New South Wales. Sydney, 1998, p. 17, fig. 3 (color).

Matthias Arnold. Claude Monet. Hamburg, 1998, pp. 38, 101-2, ill.

Kermit Swiler Champa in Monet & Bazille: A Collaboration. Ed. David A. Brenneman. Exh. cat., High Museum of Art. Atlanta, 1998, pp. 91-92, fig. 52 (color), discusses Monet's use of figures as elements within the overall landscape, rather than the focus of the painting.

Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, Pa., 1998, pp. 122, 154, 174, 205, fig. 99.

John Goodman in The Oxford History of Western Art. Ed. Martin Kemp. Oxford, 2000, p. 330, ill. (color).

Richard R. Brettell. Impression: Painting Quickly in France, 1860-1890. Exh. cat., National Gallery, London. New Haven, 2000, pp. 115-16, fig. 69 (color), asserts that the composition was begun with the vertical orientation reversed, then flipped.

John House. "London, Amsterdam and Williamstown: Impression." Burlington Magazine 143 (February 2001), p. 106.

Torsten Gunnarsson in Impressionism and the North. Late 19th Century French Avant-Garde Art and the Art in the Nordic Countries 1870-1920. Ed. Torsten Gunnarsson and Per Hedström. Exh. cat., Nationalmuseum. Stockholm, 2002, pp. 15-16, 296 n. 4, p. 307, no. 139, ill. (color).

George T.M. Shackelford et al. Impressions of Light: The French Landscape from Corot to Monet. Exh. cat., Museum of Fine Arts, Boston. Boston, 2002, pp. 20, 290, fig. 8 (color), notes that it was among a series of riverside paintings "executed at the scale of canvases intended for the marketplace" that were probably meant as studies for larger studio compositions.

Dominique Lobstein in Monet et ses amis. Ed. Judit Geskó. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2003, pp. 262-65, ill. (color, overall and detail).

James H[enry]. Rubin. Impressionist Cats & Dogs: Pets in the Painting of Modern Life. New Haven, 2003, pp. 72, 83, fig. 59 (color, overall and detail).

Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd ed. Upper Saddle River, N.J., 2006, p. 391, fig. 16-22.

Eric M. Zafran in Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 84.

Joseph Baillio and Cora Michael in Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 157.

Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 16, 121, 238-39, no. 85, ill. (overall and detail, color and black and white).

Lin Arison in Lin Arison and Neil Folberg. Travels with Van Gogh and the Impressionists: Discovering the Connections. New York, 2007, p. 74.

Akiko Mabuchi in L'Art de Monet et sa postérité. Exh. cat., National Art Center, Tokyo. Tokyo, 2007, pp. 25, 241, fig. 6.

Peter Bürger in Gustave Caillebotte. Ed. Dorothee Hansen and Gry Hedin. Exh. cat., Kunsthalle Bremen. Ostfildern, 2008, pp. 25-27, fig. 5 (color), states that the work has two competing styles of painting within it, with realistically rendered boats in the foreground and more diffusely represented bathers in the middle distance; discusses its relationship to Guy de Maupassant's "La Femme de Paul".

Richard Thomson in Claude Monet: 1840-1926. Exh. cat., Galeries nationales, Grand Palais. Paris, 2010, pp. 118, 366, no. 27, ill. p. 128 (color).

Sylvie Patry in Claude Monet: 1840-1926. Exh. cat., Galeries nationales, Grand Palais. Paris, 2010, p. 237.

Kerstin Thomas. Welt und Stimmung bei Puvis de Chavannes, Seurat und Gauguin. Berlin, 2010, pp. 107-8, 220 n. 312, fig. 23, compares it to Seurat's "A Sunday on La Grande Jatte-1884" (1884/86, Art Institute of Chicago).

Laure-Caroline Semmer. "Au coeur de l'impressionnisme." Monet: Ses sources, ses thèmes, ses héritiers. Issy Les Moulineaux, 2010, pp. 46-47, ill. (color).

Anne Distel. Renoir. New York, 2010, pp. 78-79, 84, colorpl. 65.

Dorothee Hansen and Henrike Holsing. Vom Klassizismus zum Kubismus: Bestandskatalog der französischen Malerei in der Kunsthalle Bremen. Munich, 2011, pp. 219-20 nn. 4, 8.

Françoise Tétart-Vittu in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 309 n. 8 [French ed., "L'Impressionnisme et la Mode," Paris, p. 126 n. 10].

Marie-Louis Schembri and L. M. Boring in Monet et Renoir côte à côte à la Grenouillère. Exh. cat., Musée de la Grenouillère. Croissy-sur-Seine, 2012, pp. 40-41, 50-60, ill. pp. 50, 52, 53 (color), state that Monet and Renoir began to paint together on the site in mid-July around the same time as the Imperial court's visit there; incorrectly state that the cut-off inscription "Location des Canots" appears on the prow of a boat rather than on the side of the floating café in The Met's picture; compare it and Renoir's Stockholm version of the same scene to an engraving by Pelcocq (1875, Musée de la Grenouillère, Croissy-sur-Seine); discuss the points from which Monet and Renoir painted their compositions of the subject; call The Met's picture more innovative than Renoir's because of its oval tripartite structure; note both painters' use of the Golden Section in their compositions; discuss its relationship to the larger picture formerly in the Arnhold collection.

Richard Shiff in Cézanne and the Past: Tradition and Creativity. Exh. cat., Szépmüvészeti Múzeum. Budapest, 2012, p. 39, fig. 11 (color).

Peter Kropmanns in Renoir, Between Bohemia and Bourgeoisie: The Early Years. Exh. cat., Kunstmuseum Basel. Ostfildern, 2012, pp. 246, 249 n. 30.

André Dombrowski. Cézanne, Murder, and Modern Life. Berkeley, 2013, p. 3, fig. 1.

Helga Kessler Aurisch in Helga Kessler Aurisch and Tanya Paul. Monet and the Seine: Impressions of a River. Exh. cat., Philbrook Museum of Art. Houston, 2014, pp. 20-22, 56, 58, fig. 5 (color), discusses the series as the first steps toward Monet's series paintings of the 1890s; regarding his close placement of male and female bathers, calls it "as close as Monet would ever get to a subject matter with even a whiff of impropriety".

Stephan Koja in Looking at Monet: The Great Impressionist and His Influence on Austrian Art. Ed. Agnes Husslein-Arco and Stephan Koja. Exh. cat., Belvedere. Vienna, 2014, p. 16, fig. 5 (color).

Anthea Callen. The Work of Art: Plein-Air Painting and Artistic Identity in Nineteenth-Century France. London, 2015, pp. 217-18, discusses Monet's treatment of water in this series.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 10, 440, no. 368, ill. pp. 375, 440 (color).

George T. M. Shackelford in Monet: The Early Years. Exh. cat., Kimbell Art Museum. Fort Worth, 2016, pp. 16, 139, 144-47, 149, 168, 177, 186, 190 n. 10, p. 204, no. 32, ill. (color), discusses Monet's description of his paintings of La Grenouillère as "pochades"; compares The Met's picture to "The Landing Stage" (1871, Acquavella Galleries, New York) and "Regatta at Argenteuil" (1872, Musée d'Orsay, Paris).

Anne-Birgitte Fonsmark in Monet: Beyond Impressionism. Exh. cat., Ordrupgaard. Copenhagen, 2016, pp. 18, 207, fig. 9 (color).

Leah Lehmbeck in Impressionist and Modern Art: The A. Jerrold Perenchio Collection. Ed. Leah Lehmbeck. Los Angeles, 2016, p. 182, fig. 37 (color), notes that in the late 1860s both Pissarro and Monet, as exemplified by The Met's picture, shared the artistic goal of painting as directly as possible the experience of being outdoors.

Guillermo Solana. Renoir: Intimacy. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2016, p. 26 [Spanish ed., "Renoir: Intimidad," p. 26].

Florence Hudowicz in Scènes de la vie impressionniste: Manet, Renoir, Monet, Morisot . . . Exh. cat., Musée des Beaux-Arts, Rouen. Paris, 2016, p. 196.

Richard R. Brettell. "Early Monet: Fort Worth and San Francisco." Burlington Magazine 159 (January 2017), p. 77.

MaryAnne Stevens in Alfred Sisley: Impressionist Master. Exh. cat., Bruce Museum. Greenwich, Conn., 2017, pp. 35-36, 52 n. 8.

Heinz Widauer in Claude Monet: A Floating World. Ed. Heinz Widauer and Dieter Buchhart. Exh. cat., Albertina Museum. Vienna, 2018, pp. 41-42, 46, fig. 12 (color).

Claire M. Barry in Monet: The Late Years. Exh. cat., Fine Arts Museums of San Francisco. Fort Worth, 2019, p. 200 n. 15.

Marianne Mathieu in Monet: The Late Years. Exh. cat., Fine Arts Museums of San Francisco. Fort Worth, 2019, pp. 82, 205 n. 32, fig. 119 (color), as "Bathers at La Grenouillère".

George T. M. Shackelford. Monet: The Late Years. Exh. cat., Fine Arts Museums of San Francisco. Fort Worth, 2019, pp. 15-16.

Daniel Zamani in Claude Monet: The Truth of Nature. Ed. Angelica Daneo et al. Exh. cat., Denver Art Museum. Munich, 2019, p. 26, fig. 6 (color).

Alexander Penn and Daniel Zamani in Claude Monet: The Truth of Nature. Ed. Angelica Daneo et al. Exh. cat., Denver Art Museum. Munich, 2019, p. 126.

"Works in the Exhibition." Making The Met, 1870-2020. Ed. Andrea Bayer and Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, p. 251.

Laura D. Corey and Alice Cooney Frelinghuysen. "Visions of Collecting." Making The Met, 1870-2020. Ed. Andrea Bayer with Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 139, fig. 146.

Theodore Reff, ed. The Letters of Edgar Degas.. By Edgar Degas. New York, 2020, vol. 1, p. 273 n. 3.

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Claude Monet | La Grenouillère | The Metropolitan Museum of Art

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The Painting: In the summer of 1869, Claude Monet was working very closely with his friend Auguste Renoir. They set their easels up side by side at La Grenouillère (The Frog Pool) (see fig.

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When you go out to paint, try to forget what objects you have before you, a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow.

-Claude Monet

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Claude Monet | 1872 | Impression, Sunrise | Musée Marmottan, Paris

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This piece was one of Monet's most celebrated paintings. The use of color here is quite interesting, particularly when it comes to the orange sun/moon and its' reflection on the water. The dark silhouette of the boat helps it stand out, making it the main subject within the piece.

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Claude Monet | 1881 | Flower Beds at Vetheuil | Museum of Fine Arts, Boston

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According to Monet, one of his biggest masterpieces was his garden. He was inspired by flowers and enjoyed experimenting with color. This inspiration encouraged him to plant a variety of flowers in his own garden. The creation of his garden took time and patience, as he was intentional about the color and placement of each flower bed. He did this because of his plans to use his garden as reference for his paintings, making the composition more appealing to the eye. The seascape in the background of this piece is distinguishable because of the strong use of color in the flowers combined with the more dull colors in the background. In this body of work, Monet combines his love of flowers with his love of the water, something he would later do again when planting his water lilies.

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I am following Nature without being able to grasp her, I perhaps owe having become a painter to flowers.

-Claude Monet

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Claude Monet | 1885 | The Seine at Giverny | RISD Museum (Rhode Island School of Design)

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Monet spent a majority of his life living near the Seine River. The river became a major inspiration for his work and he would often paint the same subject in multiple different ways. Monet's love for the river became apparent when he refused to leave Giverny during World War 1. He would eventually die there in 1926. Monet uses color and light in this piece to differentiate the subject and its' reflection, representing his view of the beauty of the Seine.

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Claude Monet | 1886 | The Manneporte near Étretat | The Metropolitan Museum of Art 

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This location can be seen in many of Monet's pieces. He uses different color brushstrokes in the water to depict shadows and reflections. He also paints his brushstrokes in different directions to separate the rock formation from the background.

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Bryson Burroughs. "The Bequest of Lizzie P. Bliss." Metropolitan Museum of Art Bulletin 26 (November 1931), pp. 262, 264 n. 2, ill.

John Rewald. The History of Impressionism. New York, 1946, ill. p. 397.

Oscar Reuterswärd. Monet. Stockholm, 1948, p. 284, incorrectly identifies the subject as the Porte d'Aval.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 69.

Jean Leymarie. Impressionism. Lausanne, 1955, ill. p. 83 (color).

Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870-1889. Milan, 1966, pp. 107-8, no. 296, ill.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, p. 136, ill.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.

Raymond Cogniat. Claude Monet. New York, 1969, ill. p. 29 (color).

Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 291-92, 294, 302, 304-5, fig. 15.

Jean Clay. L'Impressionnisme. [Paris], 1971, pp. 196-97, ill. (color).

Joel Isaacson. Observation and Reflection: Claude Monet. Oxford, 1978, pp. 37-38, 217, pl. 84, claims that it was developed as a pair along with a very similar painting in the Pritzker collection, Chicago (W1035).

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887-1898: Peintures. Paris, 1979, p. 66 n. 1278, as included in exhibitions at Durand-Ruel, New York, and St. Botolph's Club, Boston, in 1895.

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 2, 1882-1886: Peintures. Lausanne, 1979, pp. 43, 45, 184-85, no. 1052, ill.

Robert Herbert. "Method and Meaning in Monet." Art in America 67 (September 1979), p. 108.

Brian Petrie. Claude Monet, The First of the Impressionists. Oxford, 1979, pp. 58, 61, pl. 51.

Grace Seiberling. Monet's Series. PhD diss., Yale University. New York, 1981, pp. 65-68, 271, fig. 5, .

Robert Gordon and Andrew Forge. Monet. New York, 1983, pp. 106, 291, ill. (color).

Charles F. Stuckey. "Monet's Art and the Act of Vision." Aspects of Monet. Ed. John Rewald and Frances Weitzenhoffer. New York, 1984, ill. p. 114.

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 135, 252, ill. (color).

John House. Monet: Nature into Art. New Haven, 1986, pp. 59-60, 67, 86, 125, 150, 184, 195, 241 n. 20, colorpl. 130, fig. 225 (diagram), discusses the reworking of the lines of the arch; prints a diagram showing changes Monet made in the disposition of forms.

Richard Kendall, ed. Monet by Himself. London, 1989, ill. p. 141 (color).

Karin Sagner-Düchting. Claude Monet, 1840-1926: Ein Fest für die Augen. Cologne, 1990, pp. 134, 140, ill. (color).

Virginia Spate. Claude Monet: Life and Work. New York, 1992, p. 171.

Chuji Ikegami. New History of World Art. Vol. 22, Period of Impressionism. Tokyo, 1993, p. 212, fig. 120.

Constance Schwartz. Normandy and Its Artists Remembered. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N.Y., 1994, pp. 23, 82, colorpl. X.

Robert L. Herbert. Monet on the Normandy Coast: Tourism and Painting, 1867-1886. New Haven, 1994, pp. 115-16, fig. 129 (color), dates it 1885-86.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 476, ill., as "The Manneporte near Étretat".

Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, pp. 210-11, ill. (color, cropped).

Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné-Werkverzeichnis: Nos. 969-1595. 2nd ed. Cologne, 1996, p. 398, no. 1052, ill. (color).

Rebecca A. Rabinow. "Modern Art Comes to the Metropolitan: The 1921 Exhibition of 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), p. 11, fig. 9 (installation photo).

Impressionist & Modern Art Part One. Sotheby's, New York. May 3, 2005, p. 24, under no. 6, mentions it in the entry for another Manneporte picture (W1035).

Robert L. Herbert in "Monet's Neo-Romantic Seascapes 1881-1886." Monet and French Landscape: Vétheuil and Normandy. Ed. Frances Fowle. Edinburgh, 2006, p. 73, colorpl. 10.

Richard Kendall in James A. Ganz and Richard Kendall. The Unknown Monet: Pastels and Drawings. Exh. cat., Royal Academy of Arts, London. Williamstown, Mass., 2007, p. 155, fig. 137 (color).

Eric M. Zafran in Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 126.

Joseph Baillio and Cora Michael in Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 165.

Paul Hayes Tucker in Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 75, fig. 13 (color).

Kathryn Calley Galitz in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 126, 241, no. 90, ill. (color and black and white).

James H. Rubin in A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen. Ed. Laurent Salomé. Exh. cat., Musée des Beaux-Arts de Rouen. Paris, 2010, ill. p. 113 (color), reproduces it with caption information for MMA 51.30.5.

Frances Fowle in The Draw of the Normandy Coast. Exh. cat., Portland Museum of Art. Portland, Me, 2012, p. 53, 87, fig. 10 (color).

Derrick R. Cartwright. Monet's Etretat: Destination & Motif. Exh. brochure, Timken Museum of Art. San Diego, 2017, unpaginated, fig. 3 (color).

Gunhild Bauer in Claude Monet: A Floating World. Ed. Heinz Widauer and Dieter Buchhart. Exh. cat., Albertina Museum. Vienna, 2018, p. 122, fig. 8 (color), dates it 1885/86.

Marianne Mathieu in Monet: The Late Years. Exh. cat., Fine Arts Museums of San Francisco. Fort Worth, 2019, p. 82.

Marnin Young in Félix Fénéon: The Anarchist and the Avant-Garde. Exh. cat., Museum of Modern Art. New York, 2020, p. 39, fig. 21 (color).

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Claude Monet | The Manneporte near Étretat | The Metropolitan Museum of Art

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Bryson Burroughs. "The Bequest of Lizzie P. Bliss." Metropolitan Museum of Art Bulletin 26 (November 1931), pp. 262, 264 n. 2, ill. John Rewald. The History of Impressionism. New York, 1946, ill. p. 397. Oscar Reuterswärd. Monet. Stockholm, 1948, p. 284, incorrectly identifies the subject as the Porte d'Aval. Josephine L.

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For me, a landscape does not exist in its own right, since its appearance changes at every moment.

-Claude Monet

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Claude Monet | 1896 | Ironbound | The Cornell Fine Arts Museum at Rollins College, Winter Park, FL

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This piece of work was also painted in a spot that Monet frequented. He is again able to use different facing brushstrokes to separate the rock formation and the water. The light colors in the left corner look as though they represent a crashing wave. He is able to use lighter and darker colors in certain spots in the water to represent shadows and reflections.

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Inscription: signed and dated, lower right, in blue paint: Childe Hassam 1896

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Claude Monet | 1933 | Water Lilies | Art Institute of Chicago

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It was later in life that Monet began to lose his sight. In his garden, he had a pond in which he planted many water lilies. These became a popular subject within his work and his water lily paintings are arguably some of the most popular pieces that he's created. He began to give up on painting when he realized that he his eyesight was giving up on him but soon started again. He expressed that he was able to see the world in a new way, which is something that can be noticeable when comparing old works to newer ones.

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Water Lilies' is an extension of my life. Without the water the lilies cannot live, as I am without art.

-Claude Monet