Claude Monet and Eugène Boudin, parallel works

Claude Monet and Eugène Boudin, parallel works(Monet Handmade Oil Paintings)

An exhibition with paintings by the two artists is exhibited, which reflects the influence of the teacher on his disciple .

In the nineteenth century, advancement began to appear in the customs of bourgeois society through new rituals, such as the summer on the beaches, transformed into scenes of social life, and the painters of the time began to take out the open-air his easels to gather on his canvases the bustling the atmosphere existing apart from everything else in those new fashionable landscapes. 

One of the first artists to discover the iconography of current life for art was Eugène Boudin (1824- 1898), who moved his studio to the cliffs of the coasts of Brittany and Normandy and to the beaches of Trouville, were the first vacationers of the century.

Around then, Boudin was shopping for oils and painting materials at the Gravier stationery in the port of Le Havre, and it was there that in the spring of 1856 he met a youthful artist named Claude Monet (1840-1926), what his identity was dedicated to drawing caricatures of popular characters. Boudin congratulated him on his work and encouraged him to tackle another kind of painting, for which he offered to practice as a teacher. 

This proposal to turn into a disciple of Boudin changed the existence of Monet, who from that second began a career that would lead him to get one of the great art figures of the twentieth century. 

"On the off chance that I have given myself to painting, I owe it to Eugène Boudin", Monet would say in 1911 to Georges Jean-Aubry , his teacher's biographer. The parallelism between crafted by Boudin and that of the youthful Claude 

Monet can now be seen in the exhibition "Monet/Boudin" that these days can be seen at the Thyssen 

Museum 

Landscapes, seascapes, beach scenes

The first work that Monet dared to display in his recent fad was a rural scene wherein the silhouette of some poplars and that of a fisherman in a blue shirt sitting on the stream bank are outlined against a blue sky. It is "Perspective on the surroundings of Rouelles", clearly inspired by the works that Boudin had dedicated to the vicinity of Le Havre, specifically in "Norman Landscape".  (Monet Framed Oil Paintings)

In parallel to the customs, the new society began to request paintings with themes related to the motifs to which Boudin and Monet had dedicated some of their paintings. Perhaps the most popular genres was that of the navies, which Boudin, the son of a sailor, had practiced since adolescence. Landscapes with boats, scenes of fishermen, fishing activities ... were incessant during this stage in crafted by the two painters. 

Despite having settled in Paris since 1859, Monet didn't stop relating to Boudin through a large correspondence and regular trips to Le Havre to witness the development of his teacher. In 1862 they both met the Dutch Johan Barthold Jongkind , of whom they admired a style that was to lead to 

Impressionism. Monet was interested in Courbet's and Manet's navies, which inspired his monumental 

"The beach of Sainte-Adresse", and Boudin returned each summer to Trouville to paint the vacationers on its beaches and the fishermen on its docks, while continuing with his marinas, better paid in the art market. Monet continued in Boudin's wake in the summer of 1870 and settled with his family in 

Trouville, where he portrayed his significant other in "Camille on the beach at Trouville" and that of Boudin in 

"The beach at Trouville." 

MONET Trouville Beach 

The landscapes of Boudin and Monet advanced with the use of pastel sky studies in which they showed, with variations of light and shading, the diverse atmospheric conditions of the various seasons of the year and the various hours of the day. In 1890 Monet would give a go to his work based on the capture of those diverse latent environmental and light conditions already in Boudin. "Arm of the 

Seine near Vétheuil", "The flood" and the seventeen oil paintings that he dedicated to the thawing of the Seine are part of this stage of the impressionist painter. It was with the latter that, in a letter to the dealer Durand-Ruel, Monet first used "series" to allude to a set of paintings with similar themes, a term that made its fortune in the art world. Boudin also committed series to the (airport transfer UK)

Trouville quays and the Touques River landscapes painted at various times of the day. From 1880, in Monet's paintings, human figures gave prominence to landscape and nature ("The Needle of Étretat, low tide", "Rocks in Belle-Île-en-Mer"), while Boudin, reached his consecration In short, he began a more personal last stage with works such as "Low Tide". 

The experience with the luminosity of the Mediterranean was a genuine discovery for the two artists. Monet traveled in 1884 along the Côte d'Azur and the Italian Riviera with Renoir . As far as concerns him, Boudin made this same Mediterranean light his own following his visit to Antibes and Banlieu in 1892. 

BOUDIN Cliff 

Monet needle 

Despite the fact that from 1894 the relations between Boudin and Monet chilled off for personal reasons, both admired each other and each remained interested in the other's work. At the point when the first 

Impressionism exhibition was held in 1894, Monet, who exhibited several works that paid accolade for 

Boudin there invited his teacher to participate with various canvases, watercolors and pastels. And on the death of Boudin, Monet was quite possibly the most dedicated collaborators in the posthumous exhibition dedicated to his teacher and acquired for his private assortment the watercolor "Miriñaques on the beach" and the oil painting "Honfleur, the chime tower of Sainte-Catherine".