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By Monet, Claude; Kalitina, N. N.; Brodskai︠a︡, N. V.
For Monet, the act of production used to be continuously a painful fight. His obsession with taking pictures mild results in nature was once even more severe than that of his contemporaries. In his phrases: "Skills come and move ... paintings is often a similar: a transposition of nature that requests as a lot will as sensitivity. I try and fight opposed to the solar ... may still in addition paint with gold and important stones."
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But in Monet’s painting the dress, instead of becoming grey beneath the umbrella, is a very pure sky blue. In 1867 Monet had already begun to analyse the colours he saw and had discovered what Delacroix, in his time, had found. It was that black and white do not exist in nature. There is colour everywhere, one only needs to be able to see it. qxp 5/27/2010 3:46 PM Page 51 For that purpose it is essential to educate, to train one’s eye, and Monet made a start on this difficult task. The precise dating of this painting to 1867 is based on the style of the lady’s dress, which fully conforms to the fashions of that year, and on the title which art-dealer Paul Durand-Ruel prescribed for it on the back: Une dame au jardin Sainte-Adresse.
He was the decisive factor for Monet’s future. Indeed, it was Boudin who passed on his conviction of the importance of working in the open air to Monet, a practice which Monet would in turn transmit to his Impressionist friends. Woman in a Green Dress (Camille), 1866. Oil on canvas, 231 x 151 cm. Kunsthalle Bremen, Bremen. Portrait of Madame Gaudibert, 1868. 5 cm. Musée d’Orsay, Paris. qxp 5/27/2010 3:24 PM Page 34 Monet’s further development took place in Paris, and then again in Normandy, but this time in the company of artists.
Oil on canvas, 47 x 73 cm. The National Gallery, London. qxp 5/27/2010 3:32 PM Page 43 Monet considered it very important that Boudin be introduced to his new friends. He wrote Boudin from Paris that a little group of young landscape artists had formed at the studio, and that they would be happy to meet with him. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naiveté, was combined with subtle observation of the Normandy shore’s variable nature.