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  • Claude Monet
    Nov 14, 1840 - Dec 5, 1926
  • Woman with a Parasol Facing Left - 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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Woman with a Parasol Facing Left
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  • Woman with a Parasol Facing Left

  • Claude Monet
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  • 1886
    Oil on canvas
    131 cm (51.5 in) x 88 cm (34.6 in)
    Musée d'Orsay, France.

    This was painted during a rather unusual period of Monet's career. For a long time, he had completely abandoned figure painting (something he had attempted only briefly at the beginning of his career). Then, quite suddenly, in 1885, Monet started to work on the relationship of figures to landscape. This period was to be the last time Monet focused on the human figure.

    Despite the fact that the woman is clearly the subject of this painting, she is paradoxically obscured. The title, for example, gives us no information about her whatsoever. There is no story, no background, no hint of character with which to contextualize the image on the canvas. The woman's face is a mere blur, with no real discernible features or expression. Her total anonymity is even stranger considering she was dear to Monet: at the time, he was living with Alice Hoschedé, who later became his second wife, and the model for this painting was her then-18-year-old daughter, Suzanne.

    She is further depersonalized by the way she is perfectly complimentary to the landscape. Her dress, in concert with the bending plants at her feet, indicates the direction of the wind; she is also in step with the movement of the clouds in the background. The play of light and shadow created by the parasol (beautifully rendered by Monet) serves primarily as an exposition of the soft, supple, sunlight that illuminates the scene.

    Though something of an aberration in terms of his career, Monet's isolated later detour into figure painting, and especially this painting in particular, shows the artist's increasing preoccupation with formal values (i.e., the very matter-of-fact title), questions of composition, balance, harmony, and color above other concerns.

    Why settle for a paper print when you can add sophistication to your rooms with a high quality 100% hand-painted oil painting on canvas at wholesale price? Order this beautiful oil painting today! that's a great way to impress friends, neighbors and clients alike.

  • 100% hand-painted oil painting on artist grade canvas. No printing or digital imaging techniques are used.
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stars Brigitte from United States.
The painting looks fine. Thank you.

Other paintings by Claude Monet:

Christmas Roses
Christmas Roses
Water Lilies 92
Water Lilies 92
Woman with a Parasol Facing Right
Woman with a Parasol Facing Right
Poplars on the Banks of the River Epte 1891
Poplars on the Banks of the River Epte 1891
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.