1.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
2.
Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
3.
Lyon
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Lyon or Lyons is a city in east-central France, in the Auvergne-Rhône-Alpes region, about 470 km from Paris and 320 km from Marseille. Inhabitants of the city are called Lyonnais, Lyon had a population of 506,615 in 2014 and is Frances third-largest city after Paris and Marseille. Lyon is the capital of the Metropolis of Lyon and the region of Auvergne-Rhône-Alpes, the metropolitan area of Lyon had a population of 2,237,676 in 2013, the second-largest in France after Paris. The city is known for its cuisine and gastronomy and historical and architectural landmarks and is a UNESCO World Heritage Site, Lyon was historically an important area for the production and weaving of silk. It played a significant role in the history of cinema, Auguste, the city is also known for its famous light festival, Fête des Lumières, which occurs every 8 December and lasts for four days, earning Lyon the title of Capital of Lights. Economically, Lyon is a centre for banking, as well as for the chemical, pharmaceutical. The city contains a significant software industry with a focus on video games. Lyon hosts the headquarters of Interpol, Euronews, and International Agency for Research on Cancer. Lyon was ranked 19th globally and second in France for innovation in 2014 and it ranked second in France and 39th globally in Mercers 2015 liveability rankings. These refugees had been expelled from Vienne by the Allobroges and were now encamped at the confluence of the Saône and Rhône rivers, dio Cassius says this task was to keep the two men from joining Mark Antony and bringing their armies into the developing conflict. The Roman foundation was at Fourvière hill and was officially called Colonia Copia Felix Munatia, a name invoking prosperity, the city became increasingly referred to as Lugdunum. The earliest translation of this Gaulish place-name as Desired Mountain is offered by the 9th-century Endlicher Glossary, in contrast, some modern scholars have proposed a Gaulish hill-fort named Lugdunon, after the Celtic god Lugus, and dúnon. It then became the capital of Gaul, partly due to its convenient location at the convergence of two rivers, and quickly became the main city of Gaul. Two emperors were born in city, Claudius, whose speech is preserved in the Lyon Tablet in which he justifies the nomination of Gallic senators. Today, the archbishop of Lyon is still referred to as Primat des Gaules, the Christians in Lyon were martyred for their beliefs under the reigns of various Roman emperors, most notably Marcus Aurelius and Septimus Severus. Local saints from this period include Blandina, Pothinus, and Epipodius, in the second century AD, the great Christian bishop of Lyon was the Easterner, Irenaeus. Burgundian refugees fleeing the destruction of Worms by the Huns in 437 were re-settled by the commander of the west, Aëtius. This became the capital of the new Burgundian kingdom in 461, in 843, by the Treaty of Verdun, Lyon, with the country beyond the Saône, went to Lothair I
4.
Sorbonne
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The Sorbonne is an edifice of the Latin Quarter, in Paris, France, which was the historical house of the former University of Paris. The name is derived from the Collège de Sorbonne, initiated during 1257 by the eponymous Robert de Sorbon as one of the first significant colleges of the medieval University of Paris. The university predates the college by about a century, and minor colleges had been founded already during the late 12th century, during the 16th century, the Sorbonne became involved with the intellectual struggle between Catholics and Protestants. The Collège de Sorbonne was suppressed during the French Revolution, reopened by Napoleon during 1808 and this was only one of the many colleges of the University of Paris that existed until the French revolution. After months of conflicts between students and authorities at the University of Paris at Nanterre, the administration closed that university on May 2,1968. Students at the Sorbonne campus in Paris met on May 3 to protest against the closure and the threatened expulsion of several students at Nanterre. More than 20,000 students, teachers and other endorsers marched towards the Sorbonne, still sealed off by the police, who charged, wielding their batons, as soon as the marchers approached. While the crowd dispersed, some began to make out of whatever was at hand, while others threw paving stones. The police then responded with tear gas and charged the crowd again, may 10 marked the Night of Barricades, where students used cars, wood, and cobblestones to barricade the streets of the Latin Quarter. Brutal street fighting ensued between students and riot police, most notably on Rue Gay-Lussac, early the next morning, as the fighting disbanded, Daniel Cohn-Bendit sent out a radio broadcast calling for a general strike. On Monday,13 May, more than one million workers went on strike, negotiations ended, and students returned to their campuses after a false report that the government had agreed to reopen them, only to discover police still occupying the schools. When the Sorbonne reopened, students occupied it and declared it an autonomous Peoples University, during 1970, the University of Paris was divided into thirteen universities, managed by a common rectorate, the Chancellerie des Universités de Paris, with offices in the Sorbonne. The building also houses the École Nationale des Chartes, the École pratique des hautes études, the Cours de Civilisation Française de la Sorbonne, nowadays, the use of the name refers more often to Panthéon-Sorbonne University for French public especially students in France. But, all Parisian universities like to refer as their ancestor, some alliances of universities use that name, like Sorbonne University. Listing of the works of Alexandre Falguière List of works by Henri Chapu La Sorbonne
5.
Second French Empire
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The Second French Empire was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. The structure of the French government during the Second Empire was little changed from the First, but Emperor Napoleon III stressed his own imperial role as the foundation of the government. He had so often, while in prison or in exile and his answer was to organize a system of government based on the principles of the Napoleonic Idea. This meant that the emperor, the elect of the people as the representative of the democracy, ruled supreme. He himself drew power and legitimacy from his role as representative of the great Napoleon I of France, the anti-parliamentary French Constitution of 1852 instituted by Napoleon III on 14 January 1852, was largely a repetition of that of 1848. All executive power was entrusted to the emperor, who, as head of state, was responsible to the people. The people of the Empire, lacking democratic rights, were to rely on the benevolence of the rather than on the benevolence of politicians. He was to nominate the members of the council of state, whose duty it was to prepare the laws, and of the senate, a body permanently established as a constituent part of the empire. One innovation was made, namely, that the Legislative Body was elected by universal suffrage and this new political change was rapidly followed by the same consequence as had attended that of Brumaire. The press was subjected to a system of cautionnements and avertissements, in order to counteract the opposition of individuals, a surveillance of suspects was instituted. In the same way public instruction was strictly supervised, the teaching of philosophy was suppressed in the lycées, for seven years France had no democratic life. The Empire governed by a series of plebiscites, up to 1857 the Opposition did not exist, from then till 1860 it was reduced to five members, Darimon, Émile Ollivier, Hénon, Jules Favre and Ernest Picard. On 2 December 1851 Louis-Napoléon Bonaparte, who had been elected President of the Republic and he thus became sole ruler of France, and re-established universal suffrage, previously abolished by the Assembly. His decisions and the extension of his mandate for 10 years were popularly endorsed by a referendum later that month that attracted an implausible 92 percent support. A new constitution was enacted in January 1852 which made Louis-Napoléon president for 10 years, however, he was not content with merely being an authoritarian president. Almost as soon as he signed the new document into law, in response to officially-inspired requests for the return of the empire, the Senate scheduled a second referendum in November, which passed with 97 percent support. As with the December 1851 referendum, most of the yes votes were manufactured out of thin air, the empire was formally re-established on 2 December 1852, and the Prince-President became Napoléon III, Emperor of the French. The constitution concentrated so much power in his hands that the only changes were to replace the word president with the word emperor
6.
Seine
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The Seine is a 777-kilometre-long river and an important commercial waterway within the Paris Basin in the north of France. It rises at Source-Seine,30 kilometres northwest of Dijon in northeastern France in the Langres plateau, flowing through Paris and it is navigable by ocean-going vessels as far as Rouen,120 kilometres from the sea. There are 37 bridges within Paris and dozens more spanning the river outside the city, examples in Paris include the Pont Alexandre III and Pont Neuf, the latter of which dates back to 1607. Outside the city, examples include the Pont de Normandie, one of the longest cable-stayed bridges in the world, the Seine rises in the commune of Source-Seine, about 30 kilometres northwest of Dijon. The source has been owned by the city of Paris since 1864, a number of closely associated small ditches or depressions provide the source waters, with an artificial grotto laid out to highlight and contain a deemed main source. The grotto includes a statue of a nymph, on the same site are the buried remains of a Gallo-Roman temple. Small statues of the dea Sequana Seine goddess and other ex voti found at the place are now exhibited in the Dijon archeological museum. The Seine is dredged and oceangoing vessels can dock at Rouen,120 kilometres from the sea, commercial riverboats can use the river from Bar-sur-Seine,560 kilometres to its mouth. At Paris, there are 37 bridges, the river is only 24 metres above sea level 446 kilometres from its mouth, making it slow flowing and thus easily navigable. The Seine Maritime,105.7 kilometres from the English Channel at Le Havre to Rouen, is the portion of the Seine used by ocean-going craft. The tidal section of the Seine Maritime is followed by a section with four large multiple locks until the mouth of the Oise at Conflans-Sainte-Honorine. Multiple locks at Bougival / Chatou and at Suresnes lift the vessels to the level of the river in Paris, upstream from Paris seven locks ensure navigation to Saint Mammès, where the Loing mouth is situated. Through an eighth lock the river Yonne is reached at Montereau-Fault-Yonne, from the mouth of the Yonne, larger ships can continue upstream to Nogent-sur-Seine. From there on, the river is only by small craft. All navigation ends abruptly at Marcilly-sur-Seine, where the ancient Canal de la Haute-Seine used to allow vessels to continue all the way to Troyes and this canal has been abandoned for many years. The average depth of the Seine today at Paris is about 9.5 metres. Until locks were installed to raise the level in the 1800s, the river was much shallower within the city most of the time, today the depth is tightly controlled and the entire width of the river between the built-up banks on either side is normally filled with water. The average flow of the river is low, only a few cubic metres per second
7.
Trouville-sur-Mer
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Trouville-sur-Mer, commonly referred to as Trouville, is a commune in the Calvados department in the Normandy region in northwestern France. This village of fishermen is a popular tourist attraction in Normandy, the towns inhabitants are called Trouvillais
8.
Jean Monet (son of Claude Monet)
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Jean Monet was the eldest son of French Impressionist artist Claude Monet and Camille Doncieux Monet and the brother of Michel Monet. He was the subject of paintings by his father and married his step-sister. Jean Monet was born to Camille Doncieux and Claude Monet on August 8,1867, during that summer Claude Monet had been in Sainte-Andresse, where he visited his aunt Sophie Lecadre and father Claude Monet. Camille, who received Monet for the birth and several days afterwards, was in Paris, the first portrait that Monet made of his son was of the four-month-old Jean Monet in His Cradle. Alongside Jean was a woman Julie Vellay, a companion of Camille Pissarro, mother and son were only shown in the same physical space in one painting during the Argenteuil years by Monet, The Luncheon. In 1868, after having left Paris to escape creditors and find more affordable housing and they were thrown out of the inn they were staying in for non-payment. Camille and Jean were able to stay with someone in the country, however, without money for a medical treatment, Jean became quite ill. After a dramatic period experienced by Camille and Jean, Claude was able to obtain funds for housing for his family in Le Havre and his parents were married on June 28,1870. When Jean was a child his mother and father had fled France during the Franco-Prussian War. They returned by the summer of 1872 when Claude painted his son on a hobby horse in the garden of the home the family rented in Argenteuil near Paris. Claude Monet kept the painting, and never exhibited it, throughout his life, paintings by Claude Monet He trained to be a chemist in Switzerland. Monet married Blanche Hoschedé in 1897 and they lived in Rouen, where Jean worked for his uncle Leon Monet as a chemist, and Beaumont-le-Roger until 1913. The couple visited Giverny on weekends, Jean suffered an illness for a period of time and died on February 10,1914. He is buried at the Giverny Church Cemetery, Giverny and his wife Blanche, father, and brother Michel are also buried at the cemetery
9.
Sainte-Adresse
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Sainte-Adresse is a commune in the Seine-Maritime department in the Haute-Normandie region in northern France. A coastal suburb situated some 2 miles northwest of Le Havre city centre, at the junction of the D147, the English Channel forms the western border of the commune. The oldest known name of the commune was Caput Caleti mentioned in 1240, later known as Saint-Denis-Chef-de-Caux, named after an ancient place of worship and its position on the cape. In 1415, Henry V landed with his fleet, to claim the throne of France, starting in 1905, Georges Dufayel, a Parisian businessman, created a residential seaside resort known as Nice havrais, at Sainte Adresse. The local architect Ernest Daniel directed operations, the Avenue de Regatta on the waterfront is designed in the image of the promenade des Anglais in Nice. During World War I, Sainte-Adresse was the capital of Belgium. The Belgian government in exile was installed from October 1914 to November 1918 in the Dufayel building and it had at its disposal a post office using Belgian postage stamps. During World War II, the Germans built several fortifications here for the Atlantic Wall, the church of St. Denis, dating from the nineteenth century. Claude Monet, Jardin à Sainte-Adresse,1867,98.1 cm x 129.9 cm, Metropolitan Museum of Art, Georges Dufayel, Parisian businessman who built the Nice havrais resort and the building that still bears his name. Henri de Gaulle and his wife Jeanne, parents of Charles de Gaulle, are buried here, alphonse Karr, director ofFigaro, launches the first resort in 1841. Prosper Mérimée located the action of his story at Sainte-Adresse. normandythenandnow. com/sainte-adresse/
10.
8th arrondissement of Paris
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The 8th Arrondissement of Paris is one of the 20 arrondissements of the capital city of France. Situated on the bank of the River Seine and centred on the Champs-Élysées. According to the 1999 census, it was the place of employment of people than any other single arrondissement of the capital. The land area of the arrondissement is 3.881 km2, the arrondissement had its highest population of 107,485 in 1891. In 1999, it had almost a third of that number and it is one of Pariss least densely populated arrondissements and contains 1. 8% of the total population of Paris. The head offices of AXA, Bouygues, Électricité de France, Eurazeo, Sanofi-Aventis, GDF Suez, HSBC France, standard & Poors France office is located in the 8th arrondissement. Air China and China Southern Airlines have their Paris offices in the arrondissement, at one time the head office of Union des Transports Aériens was located in this arrondissement. The predecessor airline Union Aéromaritime de Transport also had its office in the 8th arrondissement. When Suez existed, its office was in the 8th arrondissement. When Unibail existed, its office was in the arrondissement. At one time Groupe Danone had its office in the 8th arrondissement. At one time Alcatel-Lucents head office was located in the arrondissement, at one time Northwest Airlines had its Paris offices in the Madeleine station. At one time All Nippon Airways operated an office in the arrondissement. The classes are held at the École Maternelle et Primaire Saint Francois dEylau in the 16th arrondissement, intégrale, Institut denseignement supérieur privé has also one of its campus in the 8th arrondissement. 8th arrondissement travel guide from Wikivoyage
11.
Gustave Courbet
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Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
12.
Franco-Prussian War
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The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
13.
Le Havre
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Le Havre is an urban French commune and city in the Seine-Maritime department in the Normandy region of northwestern France. It is situated on the bank of the estuary of the river Seine on the Channel southwest of the Pays de Caux. Modern Le Havre remains deeply influenced by its employment and maritime traditions and its port is the second largest in France, after that of Marseille, for total traffic, and the largest French container port. The name Le Havre means the harbour or the port and its inhabitants are known as Havrais or Havraises. Administratively the commune is located in the Normandy region and, with Dieppe, is one of the two sub-prefectures of the Seine-Maritime department, Le Havre is the capital of the canton and since 1974 has been the see of the diocese of Le Havre. Le Havre is the most populous commune of Upper Normandy, although the population of the greater Le Havre conurbation is smaller than that of Rouen. It is also the second largest subprefecture in France, the city and port were founded by the King Francis I of France in 1517. Economic development in the Early modern period was hampered by wars, conflicts with the English, epidemics. It was from the end of the 18th century that Le Havre started growing, after the 1944 bombings the firm of Auguste Perret began to rebuild the city in concrete. Changes in years 1990–2000 were numerous, the right won the municipal elections and committed the city to the path of reconversion, seeking to develop the service sector and new industries. The Port 2000 project increased the capacity to compete with ports of northern Europe, transformed the southern districts of the city. In 2005 UNESCO inscribed the city of Le Havre as a World Heritage Site. The André Malraux Modern Art Museum is the second of France for the number of impressionist paintings, the city has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom. Le Havre is a major French city located some 50 kilometres west of Rouen on the shore of the English Channel, numerous roads link to Le Havre with the main access roads being the A29 autoroute from Amiens and the A13 autoroute from Paris linking to the A131 autoroute. Administratively, Le Havre is a commune in the Haute-Normandie region in the west of the department of Seine-Maritime, the urban area of Le Havre corresponds roughly to the territory of the Agglomeration community of Le Havre which includes 17 communes and 250,000 people. It occupies the tip of the natural region of Pays de Caux where it is the largest city. Le Havre is sandwiched between the coast of the Channel from south-west to north-west and the estuary of the Seine to the south, Le Havre belongs to the MLG community Paris Basin which was formed in the Mesozoic period. The Paris Basin consists of sedimentary rocks, the commune of Le Havre consists of two areas separated by a natural cliff edge, one part in the lower part of the town to the south including the harbour, the city centre and the suburbs
14.
La Roche-Guyon
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La Roche-Guyon is a commune in the Val-dOise department in Île-de-France in northern France. The commune grew around the Château de La Roche-Guyon, upon which historically it depended for its existence, the communes population in 1999 was 550. Invisible on the surface, it is hollowed out of a high cliff, the able hand of the builder has established in the mountainside, digging into the rock, an ample dwelling provided with a few miserable openings. In the mid-13th century, a manor house was added below. He and his wife made great changes to the château-bas, opening windows in its structure and laying out the terrace to the east, partly cut into the mountains steep slope. The domain of La Roche-Guyon came to the La Rochefoucauld family in 1669, the Château retained its medieval aspect of a fortress, with its moat and towers and cramped, dark living apartments. The Château was largely extended in the 18th century, La Roche Guyon was the birthplace of François Alexandre Frédéric, duc de la Rochefoucauld-Liancourt. The castle was used as a setting for the segment of a famous Franco-Belgian graphic novel on time travel, Le Piège diabolique of the Blake. After D-Day, German Field Marshal Erwin Rommel defended Normandy against the Allies in World War II from a bunker located here, the castle also was Rommels headquarters. At the beginning of 1960 there was a design competition for the Project, in which the architects Albert Laprade. The castle is now open to the public
15.
Michel Monet
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Michel Monet was the son of Claude Monet and Camille Doncieux Monet. Born on 17 March 1878,26 rue dÉdimbourg, in the 8th arrondissement of Paris and his mothers already failing health worsened after his birth, and she died on 5 September 1879, probably of uterine cancer. Michels elder brother, Jean, was born in 1867, since 1877, year of Ernest Hoschedés bankruptcy, Alice Hoschedé and her six children had been living with the Monets. The two families moved from Paris to Vétheuil in August 1878, and after Camilles death in 1879, Monet, Alice, in 1881, they moved to Poissy and, in April 1883, to Giverny. Alice managed the household and supervised the education of the Monet, Michel Monet au bonnet à pompom,1880. Le jardin de Monet à Vétheuil,1880, Michel Monet and Jean-Pierre Hoschedé, Jean-Pierre Hoschedé et Michel Monet au bord de lEpte,1890, National Gallery of Canada Michel Monet and his step-brother Jean-Pierre Hoschedé served in the French Army during World War I. Michel Monet married Gabrielle Bonaventure in 1927, when Claude Monet died in 1926, as his sole heir, Michel inherited the entire estate. Michel never spent time in Giverny, and Blanche Hoschedé Monet, his stepsister and sister-in-law, became the caretaker of the house, louis Lebret, who had been Monets head gardener, stayed on to help Blanche. After her death, the garden was neglected, Michel Monet, a car enthusiast, died in a car crash in nearby Vernon on 3 February 1966, a few weeks before his 88th birthday. He had bequeathed the estate to the Académie des beaux-arts, from 1977 onwards, Gérald Van der Kemp, then curator at the Château de Versailles, played a key role in the restoration of Claude Monets house and gardens, which had been left in a desolate state. In a bid to raise funds, he and his wife Florence appealed to American donors through the Versailles Foundation-Giverny Inc, in 1966, Michel Monet had left to the Musée Marmottan Monet his own collection of his fathers work, thus creating the worlds largest collection of Monet paintings. Michel Monet is buried in Claude Monets vault in the Giverny cemetery, in the vault are buried, Claude Monet and his second wife Alice, Alices first husband Ernest Hoschedé, Michels wife Gabrielle, his brother Jean, and his sister-in-law Blanche
16.
Pelvis
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The pelvis is either the lower part of the trunk of the human body between the abdomen and the thighs or the skeleton embedded in it. The pelvic region of the trunk includes the pelvis, the pelvic cavity, the pelvic floor, below the pelvic cavity. The pelvic skeleton is formed in the area of the back, by the sacrum, the two hip bones connect the spine with the lower limbs. They are attached to the sacrum posteriorly, connected to each other anteriorly, in mammals, the bony pelvis has a gap in the middle, significantly larger in females than in males. Their young pass through this gap when they are born, the pelvic region of the trunk is the lower part of the trunk, between the abdomen and the thighs. Each hip bone consists of 3 sections, ilium, ischium, during childhood, these sections are separate bones, joined by the triradiate cartilage. During puberty, they fuse together to form a single bone, the pelvic cavity is a body cavity that is bounded by the bones of the pelvis and which primarily contains reproductive organs and the rectum. A distinction is made between the lesser or true pelvis inferior to the line, and the greater or false pelvis above it. The pelvic outlet or inferior pelvic aperture is the region between the angle or pubic arch, the ischial tuberosities and the coccyx. To achieve both these tasks, the floor is composed of several overlapping sheets of muscles and connective tissues. The pelvic diaphragm is composed of the levator ani and the coccygeus muscle and these arise between the symphysis and the ischial spine and converge on the coccyx and the anococcygeal ligament which spans between the tip of the coccyx and the anal hiatus. This leaves a slit for the anal and urogenital openings, because of the width of the genital aperture, which is wider in females, a second closing mechanism is required. The urogenital diaphragm consists mainly of the deep transverse perineal which arises from the inferior ischial and pubic rami, the urogenital diaphragm is reinforced posteriorly by the superficial transverse perineal. The external anal and urethral sphincters close the anus and the urethra, the former is surrounded by the bulbospongiosus which narrows the vaginal introitus in females and surrounds the corpus spongiosum in males. Ischiocavernosus squeezes blood into the corpus cavernosum penis and clitoridis, modern humans are to a large extent characterized by bipedal locomotion and large brains. The female pelvis, or gynecoid pelvis, has evolved to its width for childbirth — a wider pelvis would make women unable to walk. In contrast, human male pelvises are not constrained by the need to give birth, the principal differences between male and female true and false pelvis include, The female pelvis is larger and broader than the male pelvis which is taller, narrower, and more compact. The female inlet is larger and oval in shape, while the male sacral promontory projects further, the sides of the male pelvis converge from the inlet to the outlet, whereas the sides of the female pelvis are wider apart
17.
Women in the Garden
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Women in the Garden is an oil painting begun in 1866 by French artist Claude Monet when he was 26. The setting is the garden of a property he was renting and his companion Camille posed for the figures. Monet finished the work indoors, and used magazine illustrations to render fashionable clothing, Monet at this time was early in his career, experimenting with method and subject matter. His earlier paintings were successful at Paris Salons, but Women in the Garden was rejected in 1867 on the grounds of subject, the Salon was also troubled by Monets heavy brushstrokes, a style which would, of course, become one of the hallmarks of Impressionism. A judge commented, Too many young people think of nothing but continuing in this abominable direction and it is high time to protect them and save art. The painting was purchased by fellow artist Frédéric Bazille to help support Monet at a time when he had no money. In this view, the figures appear poorly integrated into the scene, the paintings treatment of light and shadow is lauded, however, and in this respect the work may have shown Monet where his artistic path lay. Impressionism, an exhibition, an exhibition catalog from The Metropolitan Museum of Art
18.
Springtime (painting)
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Springtime is an 1872 painting by Claude Monet. It depicts his first wife, Camille Doncieux, seated serenely beneath a canopy of lilacs, the painting is presently held by the Walters Art Museum. In this painting entitled Springtime, Claude Monet uses his first wife, Camille Doncieux, Camille and Claude Monet were married in 1870, before this time she had been his mistress and served as a model for Monets figurative paintings of the 1860s and 1870s. It is said that Camille possessed unusual talent as a model and was used by Auguste Renoir. Late in the year 1871, Monet and his family settled in Argenteuil, the village was a popular resort for urban pleasure-seekers. Colleagues of Monet frequently joined him and the village associated with Impressionism. In the spring of 1872, Monet painted a number of canvases in his garden, often showing Camille and Alfred Sisleys companion, Springtime was on display at an exhibition organized by the Impressionists at Durand Ruels Paris Gallery, from March 30 to April 30,1876. Monet exhibited 18 works, for which 6 of these works Camille had posed, during this exhibition, Springtime was given the more generic title of Woman Reading. In this composition, Camille is seated serenely beneath a canopy of lilacs and her face and form are in close focus unlike later depictions which portray her as older and far less attractive. Sunlight peaks through the trees, creating patches of light on the ground, the painting represents an enchanting scene of domestic life. In 2012, Springtime was featured in Off the Wall, an exhibition on the streets of Baltimore. A reproduction of the painting – the original is part of the Walters Art Museum collection – will be on display at the Cylburn Arboretum. The National Gallery in London began the concept of bringing art out of doors in 2007, the Off the Wall reproductions of the Walters paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones. From Ingres to Gauguin, French Nineteenth Century Paintings Owned in Maryland, themes and Variations in Painting and Sculpture. Monet and the Beginnings of Impressionism, the Currier Gallery of Art, Manchester, Manchester. Paintings by the Impressionists and Post Impressionists, virginia Museum of Fine Arts, Richmond. Inaugural Exhibition at the Fort Worth Art Center, Fort Worth Art Center, Fort Worth. The Turn of the Century, Exhibition of Masterpieces, 1880-1920, City Art Museum of Saint Louis, St. Louis, Minneapolis Institute of Arts, Minneapolis
19.
Woman with a Parasol - Madame Monet and Her Son
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Woman with a Parasol - Madame Monet and Her Son, sometimes known as The Stroll is an oil-on-canvas painting by Claude Monet from 1875. Monets light and spontaneous brushwork create splashes of colour, mrs Monets veil is blown by the wind, as is her billowing white dress, the waving grass of the meadow is echoed by the green underside of her parasol. She is seen as if from below, with a strong upwards perspective, a boy, their seven-year-old son, is placed further away, concealed behind a rise in the ground, only visible from the waist up, creating a sense of depth. The work is a painting of an everyday family scene. The work was painted outdoors, en plein air, and quickly, probably in a period of a few hours. It measures 100 ×81 centimetres, his largest work in the 1870s, the painting was one of 18 works by Monet exhibited at the second Impressionist exhibition in April 1876, at the gallery of Paul Durand-Ruel. John Singer Sargent saw the painting at the exhibition in 1876 and was inspired to create a similar painting, Two Girls with Parasols at Fladbury. Monet sold the painting to Dr. Georges de Bellio in November 1876 and it was inherited by de Bellios daughter and her husband Ernest Donop de Monchy, acquired by Georges Menier in Paris, and sold in 1965 to Paul Mellon. He donated the painting to the National Gallery of Art in Washington DC in 1983. Woman with a Parasol - Madame Monet and Her Son, National Gallery of Art The Stroll, Camille Monet and Her Son Jean, artchive. com Monet Woman with a Parasol – Madame Monet and Her Son, C
20.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
21.
Garden at Sainte-Adresse
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The Garden at Sainte-Adresse is a painting by the French impressionist painter, Claude Monet. The painting was acquired by the Metropolitan Museum of Art after a sale at Christies in December 1967. The painting was exhibited at the 4th Impressionist exhibition, Paris, April 10–May 11,1879, Monet spent the summer of 1867 at the resort town of Sainte-Adresse on the English Channel, near Le Havre. Although the scene projects affluent domesticity, it is by no means a family portrait, Monets relations with his father were tense that summer, owing to family disapproval of the young artists liaison with his companion, Camille Doncieux, his wife to be. Monet called this work in his correspondence the Chinese painting in which there are flags, his friend, the print by the Japanese artist Hokusai that may have inspired this picture, Turban-shell Hall of the Five-Hundred-Rakan Temple, remains today at Monets house-museum at Giverny. The elevated vantage point and relatively even sizes of the horizontal areas emphasize the two-dimensionality of the painting, the three horizontal zones of the composition seem to rise parallel to the picture plane instead of receding into space. The subtle tension resulting from the combination of illusionism and the two-dimensionality of the surface remained an important characteristic of Monets style, the painting is now in the New York Metropolitan Museum of Art. It was bought in 1967, with special contributions given or bequeathed by friends of the Museum, the Metropolitan Museum of Art - Guide Cited Impressionism, a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art, which contains material on this painting
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Regatta at Sainte-Adresse (Monet)
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The Regatta at Sainte-Adresse is an oil-on-canvas painting by the impressionist painter Claude Monet. It was painted in 1867 and is owned by the Metropolitan Museum of Art and this painting and The Beach in Sainte-Adresse were probably conceived as a pair. They are identical in size, and their viewing point differs by only a few yards, Sainte-Adresse, the well-to-do suburb of Le Havre, was the home of Monets father. Destitute, Monet spent the summer of 1867 with his father and aunt Sophie Lecadre at the cost of abandoning his companion, Camille Doncieux, Monet attended the birth in Paris and returned to the coast a few days later. The painting is signed at the lower left. Henri Hecht, Paris. sale, Hôtel Drouot, Paris, April 5,1884,25, as Sainte-Adresse, P. A. B. Widener, Ashbourne, near Philadelphia, William Church Osborn, New York Galerie de la société des amis des arts de Bordeaux, salon des amis des arts de Bordeaux,1868, no.449. Society of French Artists, Eighth Exhibition, Spring 1874, no.142, Loan Exhibition of Impressionist and Post-Impressionist Paintings, May 3–September 15,1921, no.76. Loan Exhibition of French Masterpieces of the Late XIX Century, March 20–April 10,1928, Exhibition of Masterpieces by Claude Monet Commemorating the Hundred and Thirtieth Anniversary of the House of Durand-Ruel 1803-1933, March 20–April 15,1933, no.12. Golden Gate International Exposition,1940, no.284, a Loan Exhibition of Paintings by Claude Monet for the Benefit of the Children of Giverny, April 11–May 12,1945, no.4. The Painters Light, October 5–November 10,1971, no.29, hommage à Claude Monet, February 8–May 5,1980, no.16. Origins of Impressionism, September 27,1994 – January 8,1995, Claude Monet, 1840–1926, July 22–November 26,1995, no.13. Claude Monet, November 26,2001 – February 10,2002, Claude Monet, March 1–May 15,2002, no.4. Fine Arts Museums of San Francisco, Monet in Normandy, June 17–September 17,2006, no.4. Monet in Normandy, February 18–May 20,2007, no.4, impressionists by the Sea, July 7–September 30,2007, no.33. Impressionists by the Sea, February 9–May 11,2008, no.33
23.
The Magpie (Monet)
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The Magpie is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Between 1867 and 1893, Monet and fellow Impressionists Alfred Sisley, similar winter paintings were produced by Pierre-Auguste Renoir, Gustave Caillebotte, and Paul Gauguin. Art historians believe that a series of severe winters in France contributed to an increase in the number of winter landscapes produced by Impressionists, the Magpie is one of approximately 140 snowscapes produced by Monet. The Magpie was completed in 1869 and is Monets largest winter painting and it was followed by The Red Cape, the only known winter painting featuring Camille Doncieux. The canvas of The Magpie depicts a black magpie perched on a gate formed in a wattle fence. The painting features one of the first examples of Monets use of colored shadows, Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black. This subjective theory of perception was introduced to the art world through the works of Johann Wolfgang von Goethe. At the time, Monets innovative use of light and color led to its rejection by the Paris Salon of 1869, today, art historians classify The Magpie as one of Monets best snowscape paintings. The painting was held until the Musée dOrsay acquired it in 1984. In the late 1850s, French landscape painter Eugène Boudin introduced Monet to the art of painting en plein air—in the open air, the invention of the collapsible metal paint tube and portable easel brought painting, formerly confined to studios, into the outdoors. Boudin and Monet spent the summer of 1858 painting nature together, like Boudin, Monet came to prefer painting outdoors rather than in a studio, the convention of the time. If I have become a painter, Monet said, I owe it to Boudin, the landscape paintings of Dutch painter Johan Barthold Jongkind influenced both Boudin and Monet and contributed to the development of early Impressionism. After meeting Jongkind in Sainte-Adresse in 1862, Monet began to cultivate an interest in Jongkinds perspective on the conditions of the landscape. From Jongkind, Monet learned to substitute optical color for local color, complementing the teaching I received from Boudin, Jongkind was from that moment my true master, Monet later reminisced. It was he who completed the education of my eye, Gustave Courbet had been painting effets de neige, snow effects, from as early as 1856, in a landscape style preferred by Japanese, Dutch, and Flemish artists. Influenced by Courbet, Monet painted his first snowscape, A Cart on the Snowy Road at Honfleur, a journalist observed, We have only seen him once. It was in the winter, during days of snow. It was cold enough to split stones and we noticed a foot-warmer, then an easel, then a man, swathed in three coats, his hands in gloves, his face half-frozen
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Impression, Sunrise
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Impression, Sunrise is a painting by Claude Monet. Shown at what would later be known as the Exhibition of the Impressionists in April 1874, Impression, Sunrise depicts the port of Le Havre, Monets hometown, and is his most famous painting of the harbor. Monet visited his hometown of Le Havre in the Northwest of France in 1872 and proceeded to create a series of works depicting the port of Le Havre. The six painted canvases depict the port during dawn, day, dusk, Impression, Sunrise became the most famous in the series after being debuted in April 1874 in Paris at an exhibition by the group Painters, Sculptors, Engravers etc. Inc. The painting was stolen from the Musée Marmottan Monet in 1985 by Philippe Jamin and Youssef Khimoun, since 1991 it has been back on display in the museum. While the title of the painting seemed to be chosen in haste for the catalogue and it had been used for some time to describe the effect of paintings from the Barbizon school. Both associated with the school, Daubigny and Manet had been known to use the term to describe their own works. Before the 1860s and the debut of Impression, Sunrise, the term impressionism was originally used to describe the effect of a scene on a painter. By the 1860s, impression was used by transference to describe a painting which relayed such an effect, in turn, impression came to describe the movement as a whole. Impression, Sunrise depicts the port of Le Havre at sunrise, in the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that are not trees but smoke stacks of packboats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky. In order to show features of industry, Monet eliminated existing houses on the left side of the jetty. Following the defeat of France in the Franco-Prussian War of 1870-71, for while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France. The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the renewed strength, art demonstrating France’s revitalization, Monet’s depiction of Le Havre’s sunrise mirrors the renewal of France. The hazy scene of Impression, Sunrise strayed from traditional painting and classic. Loose brush strokes meant to suggest the rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality, the group of studies made from Monet’s hotel room were made from canvas with a base layer of gray in different tones. The layered effect provides depth in spite of imprecise details, creating a rich and tangible environment that seems like Le Havre, though not an exact likeness
25.
Boulevard des Capucines (Monet)
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Boulevard des Capucines is an oil on canvas street scene painting of Boulevard des Capucines by French Impressionist artist Claude Monet created in 1873. From the late 1860s, Monet and other like-minded artists, met rejection from the conservative Académie des Beaux-Arts which held its annual exhibition at the Salon de Paris. During the latter part of 1873, Monet, Renoir, Pissarro, at their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name, Impression, Sunrise. Among the works Monet included in the first Impressionist exhibition was The Luncheon,1868, the painting was rejected by the Paris Salon of 1870. Also in this exhibition was a painting titled Boulevard des Capucines, impressionism, a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art, which contains material on this painting
26.
Argenteuil Basin with a Single Sailboat
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Argenteuil Basin with a Single Sailboat is an oil on canvas autumn scene of the basin at Argenteuil, painted by French Impressionist artist Claude Monet in 1874. The piece was created during Monets residence at Argenteuil, a town on the banks of the Seine, here Monet purchased a boat to be used as a floating studio and painted many scenes of the surrounding area. The painting was purchased by Irish playwright and activist Edward Martyn in 1899, on the advice of his cousin and it was bequeathed to the National Gallery of Ireland in 1924. At around 11am on 29 June 2012 a visitor to the gallery, Andrew Shannon, punched the painting causing huge damage, after 18 months of restoration work, on 1 July 2014, the painting was re-hung in the gallery, behind protective glass. The restoration saw 7% of the area being lost, in a process that involved sewing microscopic threads back together. Shannon was jailed for 5 years for the attack, National Gallery of Ireland information, National Gallery of Ireland restoration process
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Snow at Argenteuil
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Snow at Argenteuil is an oil-on-canvas landscape painting from the Impressionist artist Claude Monet. It is the largest of no fewer than eighteen works Monet painted of his home commune of Argenteuil while it was under a blanket of snow during the winter of 1874–1875 and this painting—number 352 in Wildenstein’s catalogue of the works of Monet—is the largest of the eighteen. The attention to detail evident in the paintings is less evident in this larger picture. Instead, Monet has rendered large areas of the canvas in closely like tones and colours of blue, paint at the depicted road surface is thicker than elsewhere in the painting, and impasto is suggestive of the feel of disturbed snow. Most of Monet’s Snow at Argenteuil pictures from the winter of 1874–1875 were painted from locations close to the house on the boulevard Saint-Denis into which Monet, in December 1879 the painting was acquired from Monet by Théodore Duret. Recalling a conversation with the artist Édouard Manet, Duret years later reported that, I had in my possession just such a piece from Monet. After seeing it, he said “It is perfect, acquavella Galleries of New York acquired the painting in the early 1970s, and then it was purchased by Simon Sainsbury in or around 1973. It was bequeathed by him to the National Gallery, London, in 2006 and it has remained there since
28.
Beach in Pourville
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Beach in Pourville is a painting by French artist Claude Monet. It was painted in 1882, one of a series of works made by Monet that year in the small seaside resort of Pourville-sur-Mer. Monet is considered one of the most important members of the group of painters identified as the Impressionists, the painting was bought by the National Museum, Poznań, Poland in 1906 and exhibited in the display of their collection. The painting was stolen from the Poznań National Museum in September 2000 and it was cut out of its frame and replaced with a copy, which had been painted on cardboard. At the time, the painting was valued at more than $1 million, the theft was discovered on 19 September 2000, and police searched for a man who had been seen making sketches of paintings in the museum two days earlier. The painting was recovered on 12 January 2010, police also arrested a 41-year-old man in the southern Polish city of Olkusz, whom they believe to be the painter of the copy used in the robbery. The suspect was traced through fingerprints and other evidence left at the site of the theft
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The Cliff Walk at Pourville
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The Cliff Walk at Pourville is an 1882 painting by the French Impressionist painter Claude Monet. It currently resides at the Art Institute of Chicago and it is a landscape painting featuring two women atop a cliff above the sea. The canvas was inspired by a stay at Pourville in 1882. They returned in June of that year, the various elements of the painting are unified through brushwork, short, crisp strokes were used to paint the grasses of the cliff, the womens drapery and the distant sea. An X-ray of the painting indicates that the artist originally painted a figure into the grouping. Describing similar works by the artist, art historian John House wrote, “His cliff tops rarely show a single sweep of terrain. ”The sense of immediacy is heightened by the juxtapositions of the cliff and sea, the contrast between ground and openness
Media related to Camille Doncieux at Wikimedia Commons
