Is it feasible to paint optically accurate reflections quickly in front of the motif? Examples from CamilleCorot, Claude Monet and Alfred Sisley demonstrate that it is.
Monet
A spectrum of purposes and styles, inspired by Émile Zola’s experimental approach to novels, documenting ordinary people with objectivity, in a neutral realism.
Views from Monet’s two visits, in 1871 and 1874, and the common people and places seen by George Breitner, to Max Liebermann’s view of the Jewish quarter.
Some of Claude Monet’s series from 1903-04, Le Sidaner, Émile Claus, and ending with Lesser Ury from 1926. But there was a more sinister side to the fog and smog.
Paintings starting with JMW Turner in 1844, through Monet in 1871, Winslow Homer, Jules Bastien-Lepage, Tom Roberts, Pissarro, and Childe Hassam.
The Monets and Sisley’s moved on in 1878, leaving only Renoir to visit and paint in the summer. Then in 1881, Gustave Caillebotte got a property nearby, and continued to paint the river here.
Claude Monet and family rented a house there, and were joined by Alfred Sisley and his family. Renoir came to visit, and the three painted the river and its bridges together.
After the Paris Commune, Pissarro returned to discover most of his life’s work had been destroyed, but he and Sisley continued to paint in Louveciennes and its surrounds.
In the summer of 1869, Renoir was living at his parents’ house in Louveciennes, and Monet was living near Bougival. Together they painted the works that set out the manifesto of Impressionism.
The early career and success at the Salon of the figurative Impressionist whose figures in a landscape were promising so much.
The Eclectic Light Company 