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539:, Monet reflected on his handling of landscape like the port of Le Havre in consideration of the movement and the 1874 exhibition: "A landscape is only an impression, instantaneous, hence the label they've given us-- all because of me, for that matter. I'd submitted something done out of my window at Le Havre, sunlight in the mist with a few masts in the foreground jutting up from the ships below. They wanted a title for the catalog; it couldn't really pass as a view of Le Havre, so I answered: "Put down
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uninflected canvas." They comment that the accents of blue-gray and orange cutting through the haze "are like last-minute revelations that had to wait, not only for the particular glimmer of orange to burn its way through the fog and find its reflective path onto the water and Monet's eye but for the canvas itself, pregnant with the foggy space outside, to be ready to receive it."
507:, since they rendered the "sensation evoked by the landscape" rather than the landscape. He claimed that "The very word has entered their language: not landscape, but impression, in the title given in the catalog for M. Monet's Sunrise. From this point of view, they have left reality behind for a realm of pure idealism", typified by Monet's
284:, the term "impressionism" was originally used to describe the effect of a natural scene on a painter, and the effect of a painting on the viewer. By the 1860s, "impression" was used by transference to describe a painting which relayed such an effect. In turn, impression came to describe the movement as a whole.
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shapes that "are not trees but smokestacks of pack boats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky." In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving the background unobscured.
521:
and Monet's work following the 1874 exhibition, Duret wrote "it is certainly the peculiar qualities of Claude Monet's paintings which first suggested ". Claiming that "Monet is the
Impressionist painter par excellence", Duret argued that Monet inspired a new way of seeing and painting, that Monet was
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Livingstone said that this caused the painting to have a very realistic quality, as the older part of the visual cortex in the brain — shared with the majority of other mammals — registers only luminance and not colour, so that the Sun in the painting would be invisible to it, while it is
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of 1870–71, the regeneration of France was exemplified in the thriving port of Le Havre. Art historian Paul Tucker suggests that the contrast of elements like the steamboats and cranes in the background to the fishermen in the foreground represent these political implications: "Monet may have seen
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depicts the port of Le Havre at sunrise, the two small rowboats in the foreground and the red Sun being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty
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are hardly distinguishable, boundaries between objects are not obvious, and the paint "becomes the place" and effect, the colors of the paint melding together in "its glooming, opalescent oneness, its foggy blankness, its featureless, expectant emptiness that resembles, for the painter, an empty,
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strayed from traditional landscape painting and classic, idealized beauty. Paul Smith suggested that with this style, Monet meant to express "other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came." Loose brush
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The group of studies made from Monet's hotel room was made from canvas with a base layer of gray in different tones. The layered effect provides depth in spite of imprecise details, creating a rich and tangible environment that seems like Le Havre, though not an exact likeness. Gordon and Forge
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The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the "renewed strength and beauty of the country... Monet's ultimate utopian statement." Art demonstrating France's revitalization, Monet's depiction of Le Havre's sunrise mirrors the renewal of
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wrote about the opening of the show, complimenting the ambiance of the space and the paintings working together: "The walls of the rooms, covered in brownish red woolen fabric, are extremely well suited to paintings. The daylight enters the rooms from the sides, as it does in apartments."
183:
in the
Northwest of France in 1872 and proceeded to create a series of works depicting the port. The six painted canvases depict the port "during dawn, day, dusk, and dark and from varying viewpoints, some from the water itself and others from a hotel room looking down over the port".
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was one of the most notable pieces; it was briefly discussed only five times in all the reviews of the exhibition. However, the reviews of the exhibition and of Monet's painting both provide insight into the development of the movement and Monet's work and development as an artist.
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this painting of a highly commercial site as an answer to the postwar calls for patriotic action and an art that could lead. For while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France."
522:"no longer painting merely the immobile and permanent aspect of a landscape, but also the fleeting appearances which the accidents of atmosphere present to him, Monet transmits a singularly lively and striking sensation of the observed scene."
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in 1904. These works then seemed as a continuation of his Le Havre scene, "one of the sequence of canvases in which he was seeking to capture the most fleeting natural effects, as a display of his painterly virtuosity." Evoking the name of
469:—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it... and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape."
597:, but also providing stylistic connections, the later paintings are similarly "quite summary and economical in handling, and depict particularly hazy or misty effects" that is characteristic of Monet's impressionism in particular.
447:, is often quoted in his review on Monet's work. His article "The Impressionist Exhibition" is written as a dialogue from the imaginary perspective of an old-fashioned painter, shocked at the works of Monet and his associates:
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became the most famous in the series after being debuted in April 1874 in Paris at an exhibition by the group "Painters, Sculptors, Engravers etc. Inc." Among thirty participants, the exhibition was led by
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represent it demonstrate the emergent
Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Considering this, Smith claims that "
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While the title of the painting seemed to be chosen in haste for the catalogue, the term "Impressionism" was not new. It had been used for some time to describe the effect of paintings from the
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due to his hazy painting style in his depiction of the subject: "They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put
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Initially used to describe and deprecate a movement, the term
Impressionism "was immediately taken up by all parties" to describe the style, and Monet's
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was about Monet's search for spontaneous expression, but was guided by definite and historically specific ideas about what spontaneous expression was."
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to excuse his painting from accusations of being unfinished or lacking descriptive detail, but Monet received these criticisms regardless of the title.
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Although it may seem that the Sun is the brightest spot on the canvas, it is in fact, when measured with a photometer, the same brightness (or
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wrote that rendering idealized impressions instead of landscapes is what epitomises Monet's work and the impressionist movement. Considering
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by
Philippe Jamin and Youssef Khimoun. It was recovered and returned to the museum in 1990, and put back on display in 1991.
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1333:"Monet's 'Impressionism' birth dated by Texas State's 'Celestial Sleuth'", University News Service, 2 September 2014
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Impressionism : A Centenary
Exhibition, the Metropolitan Museum of Art, December 12, 1974 – February 10, 1975
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Alexander, Robert; Venkatakrishnan, Ashwin; Chanovas, Jordi; Macknik, Stephen; Martinez-Conde, Susana (2021).
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in style and influence, though their subjects varied. Examples of similarly titles works are
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wrote that the group of painters could be described by no other word beside the new term
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Other researchers have found that these same luminance properties can cause the Sun to
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However, this idyllic perspective of the exhibition was not the view of all critics.
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1125:"Microsaccades mediate perceptual alternations in Monet's "Impression, sunrise""
451:"Ah, there he is, there he is!" he cried, in front of No. 98. "I recognize him,
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1328:, P. de Carolis, M. Mathieu, D. Lobstein, 18 September 2014 – 18 January 2015
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While the movement and the painting initially garnered controversy, Monet's
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48 cm Ă— 63 cm (18.9 in Ă— 24.8 in)
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Following 1874 and the rise of the
Impressionist movement, Monet recalled
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Vincent's favorite! What does that canvas depict? Look at the catalogue."
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movement, arguably exemplifying more than any other work or artist the
543:." Out of that they got impressionism, and the jokes proliferated...."
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is considered to encapsulate the start of the movement and its name.
1349:, fully digitized text from The Metropolitan Museum of Art libraries
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Desaturated version of the painting: the Sun is virtually invisible.
972:(1. publ. ed.). Secaucus, N.J.: Chartwell Books. p. 124.
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by naming other works with similar titles. The subtitles recalled
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2074:(son-in-law, married Monet's step-daughters, Suzanne and Marthe)
1218:(Fourth ed.). New York: Museum of Modern Art. p. 323.
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Leroy's review is a covert backhand at the progressiveness of
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had been known to use the term to describe their own works.
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from 26 March until 14 July 2024, and is currently at the
910:"Travel Advisory - Stolen Paintings Back in Paris Heists"
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Monet's
Impression Sunrise, The Biography of a Painting
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Impression : painting quickly in France 1860-1890
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movement as a whole in style, subject, and influence.
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Essay by Beth Harris and Steven Zucker, Khan
Academy
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Fondation Monet – Giverny home, studio, and gardens
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1267:Hopkin, John House; with an essay by David (2007).
993:Hopkin, John House; with an essay by David (2007).
139:, Monet's hometown. It is usually displayed at the
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328:strokes meant to suggest the scene rather than to
2161:Claude Monet Painting in His Garden at Argenteuil
1848:The Doge's Palace Seen from San Giorgio Maggiore
1712:Arrival of the Normandy Train, Gare Saint-Lazare
1489:The Road in Front of Saint-Simeon Farm in Winter
1680:Woman with a Parasol – Madame Monet and Her Son
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233:Catalogue for the 1874 Impressionist Exhibition
121:first shown at what would become known as the "
386:, said "If you make a black and white copy of
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798:. New Haven : Yale Univ. Press p. 126.
604:gave rise to the name and recognition of the
151:from 8 September 2024 until 19 January 2025.
8:
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1297:: CS1 maint: multiple names: authors list (
1023:: CS1 maint: multiple names: authors list (
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1113:, December 2007. Retrieved 17 January 2010.
860:. Upper Saddle River, N.J.: Prentice Hall.
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759: – Light scattering by small particles
582:Garden at Bordighera, Impression of Morning
555:Garden in Bordighera, Impression of Morning
533:In an interview with Maurice Guillemot for
345:discuss boundaries and the use of color in
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1191:. New York: Hugh Lauter Levin Associates.
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723:Le Havre, Bâteaux de Peche Sortant du Port
616:Monet's depictions of the port of Le Havre
237:Monet claimed that he titled the painting
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1273:. London: Royal Academy of Arts. p.
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999:. London: Royal Academy of Arts. p.
214:In 1985 the painting was stolen from the
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1076:(3. print. ed.). New York: Abrams.
1045:Impressionism : beneath the surface
942:Impressionism : beneath the surface
824:Impressionism : beneath the surface
1648:Argenteuil Basin with a Single Sailboat
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398: — only found in humans and other
2252:Paintings in the Musée Marmottan Monet
1792:The Pyramides at Port-Coton, Rough Sea
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1068:Gordon, Robert; Forge, Andrew (1983).
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306:Following the defeat of France in the
167:, where the 1874 exhibition took place
944:. New York: H.N. Abrams. p. 19.
590:Fumées dans le brouillard, impression
7:
2177:Portrait of the Painter Claude Monet
1497:On the Bank of the Seine, Bennecourt
1433:A Cart on the Snowy Road at Honfleur
826:. New York: H.N. Abrams. p. 8.
645:The Entrance to the Port of Le Havre
476:The Exhibition of the Impressionists
2169:Claude Monet Painting in his Studio
2068:(step-daughter and daughter-in-law)
1696:The Studio Boat (Le Bateau-atelier)
1688:A Corner in the Garden at Montgeron
1238:: CS1 maint: ignored ISBN errors (
256:. Both associated with the school,
175:Modern view of the port of Le Havre
2185:Monet: The Mystery of the Orangery
858:Readings in nineteenth-century art
693:The Port of Le Havre, Night Effect
280:Before the 1860s and the debut of
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1187:Stuckey, Charles F., ed. (1985).
882:"The World's Greatest Art Heists"
752:List of paintings by Claude Monet
390:, the Sun disappears entirely."
349:, claiming that sky and water in
1832:Le Jardin de l'artiste Ă Giverny
1808:The Valley of the Creuse, Sunset
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402: — which perceives colour.
123:Exhibition of the Impressionists
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1640:The Poppy Field near Argenteuil
708:Le Bassin du Commerce, Le Havre
574:Effet de brouillard, impression
1824:Champ d'avoine aux coquelicots
1752:Anglers on the Seine at Poissy
856:Tomlinson, Janis, ed. (1995).
179:Monet visited his hometown of
1:
2145:The Improvised Field Hospital
1868:
1776:Garden at Bordighera, Morning
1573:
794:Brettell, Richard R. (2000).
18:1872 painting by Claude Monet
1840:San Giorgio Maggiore at Dusk
1215:The History of Impressionism
1189:Monet : a retrospective
2153:A Studio at Les Batignolles
1744:The Cliff Walk at Pourville
1473:The Beach at Sainte-Adresse
421:Most critics did not think
394:just the newer part of the
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1656:The Grand Quai at Le Havre
1624:Resting Under a Lilac Bush
1149:10.1038/s41598-021-82222-3
295:Subject and interpretation
2247:Paintings by Claude Monet
2211:Pays des Impressionnistes
1816:Boating on the River Epte
1465:Regatta at Sainte-Adresse
1392:
1319:Google Arts & Culture
1270:Impressionists by the sea
1047:. New York: H.N. Abrams.
996:Impressionists by the sea
163:The home of photographer
117:) is an 1872 painting by
115:Impression, soleil levant
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31:Impression, soleil levant
28:
1768:The Valley of the Nervia
1545:Houses on the Achterzaan
1481:Garden at Sainte-Adresse
968:Wilson, Michael (1983).
2078:Jacques-François Ochard
1632:The Seine at Argenteuil
1600:Boulevard des Capucines
1420:Le DĂ©jeuner sur l'herbe
1338:3 December 2016 at the
1324:Musée Marmottan-Monet,
1110:Encyclopædia Britannica
431:La République Française
149:National Gallery of Art
143:but was on loan at the
2066:Blanche Hoschedé Monet
1888:Le Bassin Aux Nymphéas
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1800:Study of Rocks; Creuse
1521:Interior, after Dinner
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413:underlie this effect.
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127:Impressionist movement
2128:Musée Marmottan Monet
1784:Haystack Near Giverny
1760:Stormy Sea at Étretat
1736:Portrait of Père Paul
1672:The Train in the Snow
1616:The Seine at Asnières
1608:Lilac Bush in the Sun
1569:Regatta at Argenteuil
1212:Rewald, John (1973).
781:Musée Marmottan Monet
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216:Musée Marmottan Monet
205:Pierre-Auguste Renoir
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141:Musée Marmottan Monet
2118:Musée de l'Orangerie
2072:Theodore Earl Butler
2010:San Giorgio Maggiore
1986:Houses of Parliament
1970:Charing Cross Bridge
1043:Smith, Paul (1994).
940:Smith, Paul (1994).
822:Smith, Paul (1994).
409:and that changes in
376:Margaret Livingstone
135:depicts the port of
2257:Stolen works of art
1561:Impression, Sunrise
1553:Windmill at Zaandam
1505:L'Enfant a la tasse
1457:Woman in the Garden
1449:Women in the Garden
1315:Impression, Sunrise
1141:2021NatSR..11.3612A
757:Rayleigh scattering
660:Impression, Sunrise
630:The Sea at Le Havre
602:Impression, Sunrise
595:Impression, Sunrise
586:Marine (impression)
570:Impression, Sunrise
566:Impression, Sunrise
519:Impression, Sunrise
509:Impression, Sunrise
489:Impression, Sunrise
460:Impression, Sunrise
429:Philippe Burty for
423:Impression, Sunrise
388:Impression: Sunrise
351:Impression, Sunrise
347:Impression, Sunrise
334:Impression, Sunrise
325:Impression, Sunrise
308:Franco-Prussian War
300:Impression, Sunrise
289:Impression, Sunrise
282:Impression, Sunrise
239:Impression, Sunrise
188:Impression, Sunrise
133:Impression, Sunrise
106:Impression, Sunrise
24:Impression, Sunrise
2242:Maritime paintings
2193:The Impressionists
1728:Beach in Pourville
1664:Snow at Argenteuil
1592:The Seine at Rouen
1412:View from Rouelles
1129:Scientific Reports
970:The impressionists
915:The New York Times
890:. 12 February 2008
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536:La Revue Illustrée
384:Harvard University
368:
323:The hazy scene of
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2188:(2000 video game)
1923:Cliffs at Étretat
1916:Gare Saint-Lazare
1864:Nymphéas en fleur
1395:List of paintings
1284:978-1-903973-88-2
1010:978-1-903973-88-2
378:, a professor of
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2090:Ernest Hoschedé
2062:(step-daughter)
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2002:Le Palais Ducal
1978:Waterloo Bridge
1954:Rouen Cathedral
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2038:(first wife)
2018:Water Lilies
2016:
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951:0-81092715-2
941:
920:. Retrieved
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885:
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833:0-81092715-2
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518:
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119:Claude Monet
114:
105:
104:
103:
50:Claude Monet
30:
15:
2021:(1897–1926)
2013:(1908–1912)
1989:(1900–1905)
1981:(1900–1904)
1973:(1899–1904)
1957:(1892–1894)
1872: 1914
1577: 1872
1135:(1): 3612.
922:16 November
894:16 November
439:Louis Leroy
330:mimetically
269:Louis Leroy
197:Edgar Degas
2262:Sun in art
2231:Categories
2137:Portrayals
2048:Jean Monet
1584:Springtime
1513:The Magpie
805:0300084463
764:References
541:Impression
528:Impression
467:Impression
247:Impression
243:Impression
223:Impression
84:Dimensions
2086:(teacher)
2080:(teacher)
1941:(1890–91)
1938:Haystacks
1532:(1868–73)
1524:(1868-69)
1403:Paintings
1293:cite book
1234:cite book
1105:"Odyssey"
1019:cite book
584:in 1884,
580:in 1883,
576:in 1879,
500:Le Siècle
417:Criticism
372:luminance
358:Luminance
2098:(dealer)
2092:(patron)
1336:Archived
1167:33574386
746:See also
678:(Marine)
557:, 1884,
472:—
400:primates
315:France.
258:Daubigny
181:Le Havre
137:Le Havre
92:Location
73:Movement
29:French:
2204:Related
2106:Museums
1946:Poplars
1441:Camille
1158:7878487
1137:Bibcode
675:Sunrise
155:History
98:, Paris
2164:(1873)
2029:People
2005:(1908)
1997:(1908)
1965:(1895)
1949:(1891)
1931:Moscow
1919:(1877)
1908:Series
1900:(1919)
1892:(1919)
1882:(1918)
1874:–1917)
1859:(1908)
1851:(1908)
1843:(1908)
1835:(1900)
1827:(1890)
1819:(1890)
1811:(1889)
1803:(1889)
1795:(1886)
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1779:(1884)
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1755:(1882)
1747:(1882)
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1540:(1869)
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1460:(1866)
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1436:(1865)
1426:Moscow
1422:(Paris
1415:(1858)
1281:
1222:
1195:
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1155:
1080:
1051:
1007:
976:
948:
887:Forbes
864:
830:
802:
441:, for
207:, and
111:French
64:Medium
46:Artist
2056:(son)
2050:(son)
1072:Monet
340:Color
319:Style
262:Manet
193:Monet
165:Nadar
1299:link
1279:ISBN
1240:link
1220:ISBN
1193:ISBN
1163:PMID
1078:ISBN
1049:ISBN
1025:link
1005:ISBN
974:ISBN
946:ISBN
924:2010
896:2010
862:ISBN
828:ISBN
800:ISBN
740:1874
725:1874
710:1874
695:1873
680:1873
662:1872
647:1870
632:1868
497:for
453:papa
260:and
59:1872
56:Year
1317:at
1275:139
1153:PMC
1145:doi
1001:158
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462:."
382:at
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1869:c.
1574:c.
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1295:}}
1291:{{
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1027:)
1013:.
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926:.
898:.
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836:.
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465:"
458:"
109:(
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