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  • Claude Monet
    Nov 14, 1840 - Dec 5, 1926
  • Springtime 1873 - Claude Monet was a French painter, initiator, leader, and unswerving advocate of the Impressionist style. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career, and it is fitting that one of his pictures - Impression: Sunrise (Musée Marmottan, Paris; 1872) - gave the group his name.
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Springtime 1873
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  • Springtime 1873

  • Claude Monet
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  • 24 x 48 inches is IN STOCK NOW

    Fruit Trees in Bloom
    1873
    Oil on canvas
    Metropolitan Museum of Art, United States.

    Monet made this work in the vicinity of his home in Argenteuil, a village on the Seine northwest of Paris that was a favorite gathering place of the Impressionists. Although the scene has previously been called Plum Blossoms and Apples Trees in Bloom, the type of tree cannot be determined from the flurry of white buds evoked by the artist. The pastel shades of spring and the clear light inspired him to represent nature almost purely in terms of color. This was the first painting by Monet to enter the Museum’s collection, via bequest in 1926.

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Other paintings by Claude Monet:

The Japanese Bridge 1
The Japanese Bridge 1
Christmas Roses
Christmas Roses
Lilac Irises
Lilac Irises
The Big Blue at Antibes
The Big Blue at Antibes
Claude MonetIn 1890 Monet had bought a strip of marshland across the road from his house and flower garden, through which flowed a tributary of the Epte. By diverting this stream, he began to construct a water-lily garden. Soon weeping willows, iris, and bamboo grew around a free-form pool, clusters of lily pads and blossoms floated on the quiet water, and a Japanese bridge closed the composition at one end. By 1900 this unique product of Monet's imagination (for his Impressionism had become more subjective) was in itself a major work of environmental art--an exotic lotus land within which he was to meditate and paint for more than 20 years. The first canvases of lilies, water, and the Japanese bridge were only about one yard square, but their unprecedented open composition, with the large blossoms and pads suspended as if in space, and the azure water in which clouds were reflected, implied an encompassing environment beyond the frame. This concept of embracing spatiality, new to the history of painting and only implicit in the first water-lily paintings, was expanded by 1925 into a cycle of huge murals to be installed in Paris in two 80-foot oval rooms in the Orangerie of the Tuileries. These were described in 1952 by the painter André Masson as "the Sistine Chapel of Impressionism." This crowning achievement of Monet's long, probing study of nature--his striving to render his impressions, as he said, "in the face of the most fugitive effects"--was not dedicated until after his death. The many large studies for the Orangerie murals, as well as other unprecedented and unique works painted in the water garden between 1916 and 1925, were almost unknown until the 1950s but are now distributed throughout the major private collections and museums of the world. Despite failing eyesight, Monet continued to paint almost until his death in 1926.