By Monet, Claude; Kalitina, N. N.; Brodskai︠a︡, N. V.

For Monet, the act of construction used to be continuously a painful fight. His obsession with shooting gentle results in nature used to be even more severe than that of his contemporaries. In his phrases: "Skills come and move ... artwork is usually an analogous: a transposition of nature that requests as a lot will as sensitivity. I attempt and fight opposed to the sunlight ... may still to boot paint with gold and worthy stones."

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The National Gallery, London. qxp 5/27/2010 3:32 PM Page 43 Monet considered it very important that Boudin be introduced to his new friends. He wrote Boudin from Paris that a little group of young landscape artists had formed at the studio, and that they would be happy to meet with him. 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 naiveté, was combined with subtle observation of the Normandy shore’s variable nature.

C. qxp 5/27/2010 3:54 PM Page 64 and white sails, became a veritable celebration of colour. The painter applied his colours in thick strokes with a brush or a palette knife, giving the impression of reflections gradually fading on the water’s surface. It is at this point that Monet’s individual style of painting is realised, and truly open-air painting would be designated “Impressionism” the following year. La Japonaise (Camille Monet in Japanese Costume), 1876. 3 cm. Museum of Fine Arts, Boston.

As in Poussin, there are amply rounded mountain peaks, dense with lush, green trees. Nevertheless it was at that same time, in the Fontainebleau forest, that Monet first had a revelation of the richness of the colour effects created by the sun filtering through the leaves. Formative Years Poppies, 1873. Oil on canvas, 50 x 65 cm. Musée d’Orsay, Paris. 44 During the early and mid-1860s these young painters were still searching for an identity and were still rather uncertain as to where their rejection of academic clichés and Salon painting would lead them; but they were fully prepared to follow boldly in the steps of those who, before their own involvement in art, had begun the struggle for new ideals outside of the artistic establishment.

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