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A Lasting Impression:
French Painters Revolutionize the Art World
Lindsay Snider
Ada Christian School Ada, Michigan
Junior Division Historical Paper, National History Day 2001 Competition
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IN THE MID-1800s a new art movement was born in France. (Modern
French Masters—The Impressionists 1) A small group of artists
banded together and, in the period of a few short decades, completely
overthrew the tenets of traditional painting. During its own time,
French Impressionism was viewed as a sweeping revolution in painting,
a radical departure from the existing traditions of European art.
(Griffith) Today, Impressionism is recognized as a major frontier
in art history and the threshold of the modern art movement.
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The Impressionists lived in Montmarte,
a little village overlooking Paris. Together, these painters completely
changed the course of art. (Kielty 141) They possessed bold new
ideas of how to paint and what to paint. They practiced new techniques
and a different style of painting. (Modern French Masters—The
Impressionists 1) Who were these men and women who changed the history
of the art world? Their names are now perhaps the most recognized
names in art, yet they were ridiculed and insulted when they first
began. Though other painters followed their style, the primary Impressionists
were Edouard Manet, Claude Monet, Pierre Auguste Renoir, Alfred
Sisley, Berthe Morisot, Jean Frederic Bazille, Camille Pissarro,
and Edgar Degas. (Welton 8) [See Appendix: Figures 1, 2, and 3.]
While the Impressionists' artistic claims and styles varied (Wright
52), they all wanted to change the way people thought about art
and set new artistic standards. (Hayes 25) |
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In the mid-nineteenth century, Paris was viewed by artists all around the globe as the center of the art world. (Martin 6) The artistic status quo during this time was effectively controlled by the Academie des Beaux-Arts, a state-sponsored institution. (Crespelle 9) To become a successful artist in Paris during the 1800s, one had to be accepted by the Salon, the largest, most prestigious art exhibition in Europe. (Impressionism and Post-Impressionism 9) Artists submitted their works to the scrutiny of the academicians from the Academie, following their strict rules. (Reyburn 10) The Salon and the Academie encouraged, exhibited, and rewarded immaculately finished, large, and conventional paintings. (Welton 18) [See Appendix: Figure 4.] The French Impressionists challenged these traditional ideas and forged new standards in painting that are still admired today. (Martin 4) |
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In 1874 this group of young French artists defied the Academie and "[broke] openly with all the traditional conventions," by presenting an independent exhibition of their works. (Chesneau) The response to their exhibition was both immediate and harsh: "...highly unsuitable for the public...the result of mental derangement...." (Cardon) Summing up the attitude of both himself and the general public, art critic Louis Leroy scathingly wrote that the exhibit was "hostile to good artistic manner, to devotion to form, and respect for the masters." (Leroy) In his derogatory article, the term "impressionism" was applied to the artists as an insult. (Reyburn 7) Today, the works of these once-scorned artists are among the most valuable pieces of art in the world. (Martin 4) What was so different about these paintings that they created such an uproar among the public and the art establishment? |
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The Impressionists increasingly believed
that art should relate to the real world and reflect modern life.
(Martin 8) Though this concept sounds commonplace today, it was
a radical one at the time of the Impressionists. Traditionally,
paintings were limited to biblical, historical, or mythological
subjects. (Landscapes of Light 2) The Impressionists, however, were
fascinated with modern-life themes, and they often focused on the
contemporary, urban world of leisure and entertainment. (Welton
24) Impressionists painted seacoasts, quiet village streets, picnics
in the open air, regattas and horse races, the animation of passers-by
on the busy Paris streets, the dance halls, cafes, and theaters.
(Herbert 152) [See Appendix: Figures 5, 6, and 7.] Almost every
aspect of French life was caught on canvas, providing a true historical
portrait of the time period. (Modern French Masters—The Impressionists
2) |
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The Impressionists were chiefly concerned
with ways to express light in a real way on a canvas. They believed
that no artist in all the history of European painting had ever
really succeeded in painting light. (Modern French Masters—The
Impressionists 1) The Impressionists wanted to capture things the
way they really were. Monet once wrote, "Paint as you see nature
yourself. If you don't see nature right with an individual feeling,
you will never be a painter, and all the teaching cannot make you
one." (Barnes, Monet, 18) The Impressionists realized that,
for the painter, it was light that described the objects he or she
painted. (Pickersgill 8) [See Appendix: Figures 8, 9, and 10.] Degas
shared this opinion, and in his notebook he wrote, "The fascinating
thing is not to show the source of light, but the effect of light.
That side of art today could become immense—is it possible
not to see?" (Barnes, Degas, 44) Monet even wrote, "For me,
a landscape does not exist in its own right, since its appearance
changes at every moment; but its surroundings bring it to life—the
air and the light, which vary continually.... For me, it is only
the surrounding atmosphere which gives objects their real value."
(Barnes, Monet, 36) |
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One major characteristic of the Impressionists was that they painted outdoors much of the time. (Martin 21) They left the confines of their studios to paint directly from nature. (Welton 12) This technique constituted a radical departure from the established practice. (Seitz 12) Traditionally, landscapes were roughly sketched outside, while the actual painting was completed in the studio. (Martin 21) Painting out-of doors, or plein-air painting was made possible for the Impressionists by two new inventions. (Welton 12) The metal paint tubes that were developed in the 1840s allowed long-term storage of oil paints, making extended outdoor oil painting trips feasible. (Seitz 12) [See Appendix: Figure 11.] Before their invention, paints had been stored in pouches made from pig bladders. The painter would pierce the skin with a tack, squeeze out the paint, and then use the tack as a plug. (Reyburn 54) This old technique proved a problem, however, in that the paint hardened rapidly with exposure to air, so painting outside proved impractical. (Welton 11) The new invention of the portable easel also made painting outside easier. (Welton 13) [See Appendix: Figure 12.] With the ability to paint nature directly, the Impressionists created a painting full of life and color, an impression of what they they had seen. They were able to capture a part of nature and transfer it onto a canvas. (Martin 20) Monet even painted from aboard his floating studio boat which was constructed so that he could paint the sailing boats near his home at Argenteuil from an intimate perspective. (Stuckey 12) [See Appendix: Figure 13.] |
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Another major element separated Salon
art and the art of the Impressionists: the use of color. In fact,
in their use of color, the Impressionists made their most significant
break with academic tradition. The Impressionists had always loved
colorful works of art, so they used more vibrant colors in their
art. [See Appendix: Figure 14.] Their use of bright color was made
possible in part by the rapid development of paint technology in
the nineteenth century. More pigments became available for the artists
to use. (Welton 20) The Impressionists' works were also created
in a much lighter tone than Salon paintings. The Impressionist painters
used purer, lighter colors instead of the traditional black and
grays. (Modern French Masters—The Impressionists 1) The Impressionists
believed that colors were not fixed, but rather were modified by
their surroundings. (Hayes 10) Their observation was confirmed by
scientific findings. Eugene Cheverul, who published a book on the
contrast of colors in 1839, showed how to make certain objects stand
out or blend in with the use of his color circle. [See Appendix:
Figure 15.] The Impressionists started a revolution in color that
showed the world how amazing pictures could be with color. (Welton
20) |
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Traditionally, the Salon artists used painting methods that produced very smoothly finished pictures employing very tiny brushstrokes and taking hours to finish. (Martin 7) The Impressionists rejected this style of painting because of their interest in color and light. What was blanketed in shadow one minute, could be bathed in full light the next. The Impressionists had to work quickly to capture the effects that they observed and then paint them on their canvases. In an effort to complete their "impression" before it disappeared or changed, they utilized a freer, broader, or looser brush stroke. (Pickersgill 8) [See Appendix: Figure 16.] In this new frontier, the Impressionists sacrificed detail for the sake of things more important to them: color and light. (Welton 20) |
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The Impressionists' paintings were greatly influenced by the technical revolution that was enveloping Paris. The invention that impacted them the most proved to be the camera. Degas described photography as "[a]n image of magical instantaneity." (Barnes 24) Ever since details of its discovery were announced in 1838, the camera has greatly affected the visual arts. It is with instant, unposed photography that Impressionism is most closely associated. (Welton 28) Many of the early Impressionists possessed cameras; in fact, Monet owned four, and Degas experimented with one of the early Kodak portable models. The Impressionists' art took on the odd, unexpected, and unbalanced compositions that were sometimes caught by the camera. (About Impressionism 4) The Impressionists wanted to capture a moment in time on canvas like the camera did when it produced a picture. (Welton 28) Just like in photos, the Impressionists' paintings were often blurred and figures cropped off to create a sense of movement. [See Appendix: Figure 17.] Monet noticed that slow shutter speeds blurred moving figures, and he began to smudge his paintings accordingly. However, many did not appreciate this technique. One early critic dismissed Monet's distant pedestrians as "black tongue lickings." Even those who many times praised his ability to capture this "ant-like swarming...the instantaneity of movement" often missed the likeness to photography. (About Impressionism 5) |
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The invention of the train also impacted the Impressionists. There was no more aggressive symbol of modern technology than the new railroads, which transformed life during the time of the Impressionists. The rail system became a large part of many Parisians' lives, including the Impressionists. They painted locomotives and railroads and stations. The train also enabled the Impressionists to travel easily to the suburbs of Paris where they would paint landscapes. The age of the train was recorded forever in art by the Impressionists. (Welton 32) [See Appendix: Figure 18.] |
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During the early years of Impressionism, the Impressionists struggled to find buyers for their works, and many of them lived hand-to-mouth. (About Impressionism 5) The rejection of the Salon made it even more difficult for the artists to sell their paintings...if the Salon disapproved, so did many art buyers. The Impressionists depended upon the sale of their paintings to make a living. Even though some patrons bought their pictures and gave them loans, the Impressionists still suffered great financial hardships. (Welton 42) Although many did not appreciate Impressionism at the time, one visionary Paris art dealer, Paul Durand-Ruel, recognized the greatness of Impressionism. "A true picture dealer should also be an enlightened patron; he should, if necessary, sacrifice his immediate interest to his artistic convictions," he wrote. (About Impressionism 5) Durand-Ruel bought and sold paintings for the Impressionists' works starting in 1870 when he met Monet and Pissarro in London. (Welton 42) Finally, after so much rejection, the world began to embrace Impressionism in the 1880s and '90s. This reversal of fortune was brought about largely due to American patrons who bought many Impressionist paintings. The Impressionists began to be recognized and regarded in their work, and, in time, the world came to view Impressionism as a wonderful, refreshing style of art. (About Impressionism 5) |
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The Impressionists made a large contribution
to art and history. They boldly painted the people and world around
them, redefining "proper" subjects for art. As Bazille noted, "I
have chosen to paint our own age because that is what I understand
best, because it is alive, and because I am painting for living
people." (Modern French Masters—The Impressionists 14) These
French painters emancipated art from the dull and dark colors to
bright ones, while they effectively captured the changing effects
of natural light as it fell upon an object. They rescued paintings
from the cluttered life of too much detail in which they formerly
resided, and brought them into a new frontier that recorded only
an "impression." [See Appendix: Figures 19 and 20.] By bringing
their canvases outdoors, the Impressionists greatly advanced the
use of plein-air painting. In addition, the Impressionists
developed a radical new painting technique with busy brushstrokes
that set the stage for the modern art of today. Putting their convictions
ahead of convention, they bravely rebelled against tradition and
broke down barriers in pursuing their artistic expression. The French
Impressionists dominated the artistic changes during this revolutionary
era of art and passed on its special freshness of vision around
the world. (Martin 45) These painters left a lasting impression
that impacted art history forever. |
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Appendix
Images of the artworks referenced in this article are featured here in black and white. To view them in color, please refer to the National History Day articles section on our website at
www.csulb.edu/~histeach.
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Figure 1
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Alfred Sisley
by Auguste Renoir
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Figure 2
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Berthe Morisot with a Bunch of Violets
by Edouard Manet
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Figure 3
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Auguste Renoir
by Frederic Bazille
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Figure 4
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Lost Illusions
by Charles Gleyre
The traditional painting shown here achieved great success at the Salon of 1843. (Martin 6)
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Figures 5 through 7
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The Impressionists liked to paint everyday people in their everyday life.
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5: The Dance at the Moulin Delagalette
by Auguste Renoir
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6: Jockeys in Front of the Grandstands
by Edgar Degas
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7: Boulevard des Chapucines
by Claude Monet
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Figures 8 through 10
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These three works by Claude Monet are part of a series he painted to capture the effect of light and season on haystacks. (Seitz 112)
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8: Haystacks (Thaw, Sunset)
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9: Haystacks (Late Summer)
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10: Haystacks (Snow Effect)
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Figures 11 and 12
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The inventions of the metal paint tube and the portable easel made plein-air painting easier.
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12: Lefranc & Company Catalog Advertisement for Portable Easel
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Figure 13
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Monet in His Studio Boat
by Edouard Manet
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Figure 14
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Oarsmen of Chatou
by Pierre Auguste Renoir
The Impressionists enjoyed painting cheerful pictures using the brightest pigments available to them.
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Figure 15
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Chevreul's Color Circle
By placing contrasting colors next to each other on a painting, the Impressionists created very dramatic paintings.
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Figures 16
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To capture the ever-changing effects of light which they observed in nature, the Impressionists utilized a shorthand technique. As depicted in the above section of Monet's Regatta at Argenteuil, paint is applied in contrasting slabs of bright color. (Welton 21)
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Figure 17
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The Place Clichy
by Pierre Auguste Renoir
This Renoir painting exemplifies the Impressionists' attempt to create works that mimicked modern photography.
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Figure 18
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Gare Saint-Lazare
by Claude Monet
The newly built Gare Saint-Lazare was a great inspiration to the Impressionist artists. Monet displayed seven paintings of the Saint-Lazare Station at the 1877 Impressionist Exhibition. (Seitz 80)
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Figure 19
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Lady at her Toilette
by Berthe Morisot
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Figure 20
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Peasant Girl with a Straw Hat
by Camille Pissarro
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Primary Sources
- Barnes, Rachel.
- Degas by Degas. New York: Alfred A. Knopf, Inc., 1990.
This wonderful book is filled with letters from Degas as well
as some of his sketches and paintings. It allowed me to get
inside the mind of Degas to see what he was thinking and feeling.
- Barnes, Rachel.
- Monet by Monet. New York: Alfred A. Knopf, Inc., 1990.
This great book contains many letters that Monet sent to his
friends and family. It also replicates many of Monet's paintings.
The letters allowed me to understand what Monet was feeling
and the things that he experienced.
- Bazille, Frederic.
- Auguste Renoir. Musee des Beaux Arts, Algiers, 1867.
The Impressionists often painted each other, as is shown in
Bazille's portrait of his friend and fellow Impressionist, Renoir.
- Cardon, Emile.
- "The exhibition of the Revoltes." La Presse. April
29, 1874. Online posting. artchive.com/galleries/1874/74critic.htm.
freei.net. September 8, 2000. Cardon's review of the Impressionist
painters and their first exhibition was really interesting to
read. It describes the Impressionist's paintings and their techniques.
It also mentions how the paintings were scorned and rejected.
- Chesneau, Ernest.
- "Le plein air, Exposition du boulevard des Chapucines." Paris
Journal. May 7, 1874. Online posting. artchive.com/galleries/1874/74critic.htm.
freei.net. September 8, 2000. Chesneau's article on the first
exhibition of the Impressionists was very interesting and helped
me a lot. It talks about how the artists painted and how their
new style was a completely different way of painting.
- Chevreul, Eugene.
- "1er. Cercle Chromatique de Mr. Chevreul." Bibliotheque Nationale,
Paris, 1839. Chevreul's color wheel demonstrates how powerful
visual effects can be obtained by placing colors next to each
other—the theoretical basis for the use of color by the
Impressionists.
- Degas, Edgar.
- Jockeys in Front of the Grandstands. Musee d'Orsay,
Paris, 1866-1868. Degas' painting of some jockeys and horses
before a race is a good example of how the Impressionists liked
to utilize modern subjects in their paintings. The races were
a common part of French leisure during the late 1800s which
the Impressionists were able to capture on canvas.
- Gleyre, Charles.
- Lost Illusion. Walters Art Gallery, Baltimore, Maryland,
1843. Gleyre's painting is a wonderful example of the traditional
style of painting that the Salon so admired and that the Impressionists
rejected.
- Lefranc & Company.
- Metal paint tube. Le Mans: Lefranc & Bourgeois, 1842.
This metal paint tube is an example of the kinds of paint tubes
that were produced in the 1840s. These paint tubes facilitated
the outdoor painting that the Impressionists loved.
- Lefranc & Company.
- Outdoor painting kit advertisement. Le Mans: Lefranc &
Bourgeois, 1888. This advertisement of a portable outdoor painting
kit helped me to show how the invention of portable painting
tools made outdoor painting easier.
- Leroy, Louis.
- "Les Impressionnistes." Le Charivari. April 25, 1874.
Online posting. artchive.com/galleries/1874/74critic.htm.freei.net.
September 8, 2000. Leroy's negative article about the first
Impressionist exhibition was very interesting to read, and it
helped me to get a feel for what many people were thinking at
the time about the Impressionists. He wrote quite a bit about
how horrible he thought the Impressionists' paintings were—how
they were unfinished and just an "impression."
- Manet, Edouard.
- Berthe Morisot with a Bunch of Violets. Ernest Rouart
Collection, Paris, 1872. This painting of Morisot by Manet was
one of Manet's finest paintings. The Impressionists often painted
portraits of each other, showing their closeness.
- Manet, Edouard.
- Monet in His Studio Boat. Bayerische Staatsgemaldesammlungen,
Munich, 1874. This painting by Manet shows Monet painting in
his studio boat. Monet often used this boat to gain access to
rivers so he could paint water scenes outdoors.
- Monet, Claude.
- Boulevard des Chapucines. Nelson-Atkins Museum of Art,
Kansas City, Missouri, 1873. Monet's painting of this street
scene demonstrates how the Impressionists sometimes blurred
and cropped their figures to create an effect that resembled
many early photographs. Also, this painting is of an every-day
scene, a common Impressionist subject.
- Monet, Claude.
- Gare Saint-Lazare. Fogg Art Museum, Harvard University,
Cambridge, 1877. Monet's painting of this train station helped
me to show what an impact the train had on both the Parisians'
lives and the Impressionists' lives. The train was important
to the Impressionists because it helped them to get out of the
city and into the French countryside to paint. Monet especially
liked painting the trains and effectively captured the age of
the train on canvas.
- Monet, Claude.
- Haystacks (Late Summer). Musee d'Orsay, Paris, 1890-1891.
This painting by Monet is one of several series paintings that
he composed to show the effect that light had on an object.
Monet was one of the best at showing how light modified the
subject that he painted.
- Monet, Claude.
- Haystacks (Snow Effect). National Galleries of Scotland,
Edinburgh, 1890-1891. Monet's Haystacks (Snow Effect)
is another of Monet's series paintings. This painting helped
me to illustrate how the lighting as well as the season can
dramatically change an object's appearance.
- Monet, Claude.
- Haystacks (Thaw, Sunset). Art Institute of Chicago,
1890-1891. Monet loved to show how much light impacted the way
an object looked. His "haystack" series clearly demonstrates
how dramatically light and season can change a picture, especially
when viewed together.
- Monet, Claude.
- Regatta at Argenteuil. Musee d'Orsay, Paris, 1872.
The small section from Monet's painting shows the shorthand
technique that the Impressionists employed to capture the ever-changing
effects of light.
- Morisot, Berthe.
- Lady at Her Toilette. Art Institute of Chicago, 1875.
Morisot's painting of a woman in her dressing room is a good
example of the modern day subjects that the Impressionists liked
to paint. During the Impressionists' time period, it was considered
improper for women to paint in public, so the women Impressionists
painted pictures of life at home. This painting also shows how
the Impressionists liked to use broad brush strokes.
- Pissarro, Camille.
- Peasant Girl with a Straw Hat. National Gallery of
Art, Washington D.C., 1881. Pissarro's painting of a peasant
girl is another good example of how the Impressionists liked
to paint modern subjects. This painting also exhibits the vivid
colors the Impressionists loved.
- Renoir, Auguste.
- Alfred Sisley. Art Institute of Chicago, 1875-1876.
This portrait of Sisley by Renoir is typical of the kind of
paintings that the Impressionists did of each other during their
early years.
- Renoir, Auguste.
- The Dance at the Moulin Delagalette. Louvre, Paris,
1876. Renoir's painting of a dance at the Moulin Delagalette
is one that exemplifies many of the Impressionists' goals. The
painting is of a modern, every day subject, and many colorful
pigments were used to create the painting. Also, the painting
shows the effect that the sunlight had on the dancers.
- Renoir, Auguste.
- Oarsmen at Chatou. National Gallery of Art, Washington
D.C., 1879. This beautiful painting by Renoir is a perfect example
of how much the Impressionists loved to use color. Also, this
painting shows a modern subject and shows the effect of the
sunlight on the water.
- Renoir, Auguste.
- The Place Clichy. Fitzwilliam Museum, University of
Cambridge, 1880. This painting by Renoir is a good example of
how some of the Impressionists tried to make their paintings
look like the early photographs that were produced. Renior blurred
and cut off many of his figures in this painting; mimicking
the photos that were created at that time.
Secondary Sources
- "About Impressionism."
- http://www.impressionism.org/teachimpress/browse/aboutimpress.htm.
2000. The internet document entitled "About Impressionism" was
a great source that gave me a better idea of how my paper should
flow. It also included some good information about how Impressionism
was a frontier.
- Crespelle, Jean-Paul.
- Monet/The Masterworks. New York, New York: Portland
House, 1986. Crespelle's book about Monet was a great help to
me in learning about the artist as well as his fellow Impressionists.
The book also contained many of Monet's paintings.
- Griffith, Mari.
- "The Impressionists at Argenteuil." National Gallery of Art:
Washington D.C., Board of Trustees, 2000. "The Impressionists
at Argenteuil" was a short brochure which I received during
a guided tour of an incredible exhibit at the National Gallery
of Art last summer. It briefly described what Impressionism
was and who the Impressionists were. It also talked about their
painting styles, as well as what and where they painted, including
Argenteuil.
- Hayes, Colin.
- Renoir. London, England: Spring Books, 1961. This wonderful
book about Renoir contained many great pictures that Renoir
painted, as well as a great deal of information about Renoir
and the other Impressionists.
- Herbert, Robert.
- Impressionism Art, Leisure, and Parisian Society. New
Haven, Connecticut: Yale University Press, 1988. Herbert's amazing
book about Impressionism helped me understand more about the
Impressionists and their goals as well as the history of Impressionism.
The book had detailed information about every aspect of the
Impressionists along with many of their paintings.
- Impressionism and Post-Impressionism.
- Leningrad: Aurora Art Publishers, 1986. This wonderful book
had many useful paintings by various Impressionists. The book
had pictures of almost every aspect of Impressionist painting.
It also contained some good background information about the
Impressionists.
- Kielty, Bernadine.
- Masters of Painting. Garden City, New York: Doubleday
& Company, Inc., 1964. This reference guide to art contained
a lengthy discussion of the history of the Impressionist movement.
- "Landscapes and Light."
- Art and Man. September/October 1987:2. This article
talked about how controversial some of Monet's paintings were.
It also talked about what the Salon expected paintings to be
like.
- Martin, Judy.
- Impressionism. East Sussex, England: Wayland Limited,
1995. Martin's book about Impressionism was a great book from
which to get some beginning information. It was easy to read
and short and had many pictures.
- Modern French Masters—The Impressionists.
- New York: The McCall Publishing Company, 1970. Modern French
Masters—The Impressionists is a wonderful book that
had many Impressionist pictures in it. It also contained brief
information on each of the Impressionist artists, their new
ideas, and their techniques.
- Pickersgill, Howard.
- The Impressionists. Secaucus, New Jersey: Chartwell
Books Inc., 1979. This book was great for getting some general
information about the Impressionists and their new styles. It
also gave information about each individual artist and how each
of them liked to paint. The book also contained many pictures
by the Impressionists.
- Reyburn, Scott.
- The Impressionists. Stamford, Connecticut: Longmeadow
Press, 1985. Reyburn's book, although difficult to read, contained
much good information. It talked about the old traditions, as
well as how the Impressionists broke those traditions.
- Seitz, William.
- Monet. New York, New York: Harry N. Abrams, Inc., 1982.
This great book about Monet has a lot of background information
on Monet. It also contains many of Monet's paintings and a description
of each one.
- Stuckey, Charles.
- Claude Monet: 1840-1926. New York, New York: Thames
and Hudson and Chicago: Art Institute of Chicago, 1995. This
book about Claude Monet contained lots of background information
about the artist, as well as many of his beautiful paintings.
- Welton, Jude.
- Impressionism. London: Dorling Kindersley, 1993. Jude
Welton's book on Impressionism was a great book that had good
information about all of the Impressionists in it. It talked
about how Impressionist painting was a frontier and how the
Salon rejected the Impressionist painters. It had many different
and unusual pictures too.
- Welton, Jude.
- Monet. London: Dorling Kindersley, 1992. Welton's book
about Monet was a wonderful book that contained useful information
about every part of Monet's life. This book also contained many
of Monet's paintings, as well as other unusual pictures.
- Wright, Patricia.
- Manet. London: Dorling Kindersley, 1993. Manet
by Patricia Wright was a wonderful book about Manet that contained
many pictures and unusual information. It talked about how Manet
liked to paint, how he was rejected by the Salon, and his influence
on the Impressionists.
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