French Impressionist Painter, 1840-1926 Claude Oscar Monet (14 November 1840 C 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting. Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris . He was the second son of Claude-Adolphe and Louise-Justine Aubree Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised into the local church parish, Notre-Dame-de-Lorette as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery store business, but Claude Monet wanted to become an artist. His mother was a singer. On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally 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 former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugene Boudin who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. On 28 January 1857 his mother died. He was 16 years old when he left school, and went to live with his widowed childless aunt, Marie-Jeanne Lecadre. After several difficult months following the death of Camille on 5 September 1879, a grief-stricken Monet (resolving never to be mired in poverty again) began in earnest to create some of his best paintings of the 19th century. During the early 1880s Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. His extensive campaigns evolved into his series' paintings. Camille Monet had become ill with tuberculosis in 1876. Pregnant with her second child she gave birth to Michel Monet in March 1878. In 1878 the Monets temporarily moved into the home of Ernest Hosched, (1837-1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vetheuil during the summer. After her husband (Ernest Hoschede) became bankrupt, and left in 1878 for Belgium, in September 1879, and while Monet continued to live in the house in Vetheuil; Alice Hosched helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children. They were Blanche, Germaine, Suzanne, Marthe, Jean-Pierre, and Jacques. In the spring of 1880 Alice Hosched and all the children left Paris and rejoined Monet still living in the house in Vetheuil. In 1881 all of them moved to Poissy which Monet hated. From the doorway of the little train between Vernon and Gasny he discovered Giverny. In April 1883 they moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden where he painted for much of the rest of his life. Following the death of her estranged husband, Alice Hosched married Claude Monet in 1892.   Related Paintings of Claude Monet :. | Poppy Field in a Hollow near Giverny | Field of Poppies | Beach at Sainte-Adresse | Train in the Snow | hay stack at sunset,frosty weather |
Related Artists:
Christian Seybold
1690/7-1768 German painter, active in Austria. He went to Vienna in his youth and, apparently self-taught (Hagedorn), became a portrait-painter. His earliest known work, surviving only in an engraving (1728) by Andreas Schmutzer (1700-40) and Josef Schmutzer, is a portrait of Graf Johann Adam Questenberg in the formal Baroque style. Subsequently, under the influence of Balthasar Denner, he turned to a more intimate style of representation,
Eduard Gaertner
1801-1877 German Eduard Gaertner Gallery German painter and lithographer. His father was a master carpenter and his mother a gold embroiderer, and he had his first drawing lessons in 1811 in Kassel, where he had gone with his mother after the occupation of Berlin. After returning to Berlin he became in 1814 an apprentice painter at the Kenigliche Porzellanmanufaktur; and from 1821 he studied under Carl Wilhelm Gropius (1793-1870), then engaged as a painter of stage sets at the Kenigliches Theater in Berlin and also known for his townscapes. Here Gaertner developed skill in the rendering of perspective. He first exhibited at the Akademie der Kenste, Berlin, in the following year. In 1824-5 he was commissioned to paint interior views of Berlin Cathedral (see fig.) and the chapel of the Schloss Charlottenburg (both Berlin, Schloss Charlottenburg). In return, he was granted funds to enable him to spend three years in Paris, where he studied under Francois Bertin. Gaertner views of Paris already show his gift for lighting and use of staffage. His special ability lay in his understanding of the character of a city as the work of its inhabitants. After his return to Berlin he swiftly established himself as the leading painter of urban views, which he regularly showed at Berlin Akademie exhibitions. Interest in this genre grew along with the spate of building activity in Berlin after the end of the wars against Napoleon. There was a fresh interest in paintings of new buildings in particular, intended for a local rather than a visitors market. Two large views of the former Berlin Schloss, The Schleterhof and The Eosanderhof (both 1831; Potsdam, Neues Pal.), show Gaertner bold use of light and shadow. With the six-part panorama View over Berlin from the Roof of the Friedrich-Wedersche Church (1834; Berlin, Schloss Charlottenburg) Gaertner showed the spread of the city by this time. After painting a replica of this work for the Prussian king daughter Alexandra Feodorovna, Empress of Russia, in 1835-6 (St Petersburg, Hermitage), Gaertner visited Russia in 1837, and again from 1838 to 1839, staying in both St Petersburg and Moscow. He completed a large number of city views, including a three-part view of The Kremlin (1839; Berlin, Schloss Charlottenburg), commissioned by Frederick William III. With the death of the Prussian king in 1840, Gaertner lost his most powerful patron and interest in his work began to wane as it came to seem too stiff and objective to Romantic sensibilities. Gaertner tried to adapt to the change in taste, adopting a more painterly approach; in particular, he paid attention to effects of lighting. The vogue for city views had passed its peak, however, and Gaertner turned to landscape painting. Journeys to Prague in 1841-2, through West and East Prussia in 1845-6, and to Silesia in 1848-51 introduced new subjects; but it was architecture rather than setting that most engaged Gaertner attention. At this period he occasionally also invented ideal landscape settings for real buildings, as in the Ruined Monastery of Lehnin in an Imaginary Mountain Landscape (Berlin, Schloss Charlottenburg). Gaertner also produced watercolours of interiors and lithographs of both landscape and city views; but after the middle of the century his productivity in all respects dwindled. (An example of his work from this period is his oil painting of the Bauakademie and Friedrich-Wedersche-Kirche in Berlin (1868; Berlin, Tiergarten, N.G.; see SCHINKEL, KARL FRIEDRICH, fig. 2).) The rise of photography appeared to be making the architectural painter redundant.
Jorg Breu the Elder
(c. 1475 -- 1537), of Augsburg, was a painter of the German Danube school. He was the son of a weaver. He journeyed to Austria and created several multi-panel altarpieces there in 1500-02, such as the Melk Altar (1502). He returned to Augsburg in 1502 where he became a master. He travelled to Italy twice, in ca. 1508 and in 1514/15. After his death in 1537, his son, Jörg Breu the Younger continued to lead his Augsburg workshop until his own death 10 years later.