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Throughout the years, Claude Monet’s Impression, Sunrise has been celebrated as the quintessential symbol of the Impressionist Movement. This renowned work of art which illustrates a view of the port of Le Havre in north-western France is considered to be one of Monet’s “most poetic expressions” of his engagement with France’s revitalization efforts after the Franco-Prussian War. Unlike other artworks of the time, the subject matter and specific painting techniques evident in Impression, Sunrise seek to transcribe the feelings initiated by a scene rather than simply rendering the details of a particular landscape. This act of expressing an individual’s perception of nature was a key characteristic and goal of Impressionist art, and is a…show more content…
Throughout his work, Monet maintained an imaginative grasp of the essential structure and pattern of the subject he was painting. Other artists such as Boudin, Jongkind, and Courbet had a strong influence on this ability of Monet’s, which can be recognized in his landscape paintings made during the fifteen-year span of 1865-1880.[7] He was capable of extracting meaningful design from apparently casual scenes, thereby emphasizing the true nature of a place. This manner of illustration can be seen in Impression, Sunrise—he places an accent on the fogginess of the harbor that is created by the smoke from the steamboats, which relates to its chief status as a major trading port. An important part of Monet’s artistic style was the way in which he transformed an outdoor painting into a finished masterpiece. Every painting Monet created had to meet a certain criteria before he could begin to consider it a finished piece, and even then he could find the potential for change and growth in a painting and deny its completion—“Anyone who says he has finished a canvas is terribly arrogant.” Using different terms to distinguish each step, Monet followed a precise process in order to make his paintings. The beginning step was called the croquis which defined the first outline of the artist’s first idea actually drawn out on paper or canvas. He referred
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