Monet: The Restless Vision is a marvelous biography about Claude Monet, one of the founding members of the Impressionist movement—though really Monet was THE founding member of the movement. Wullschlager writes how Monet was central to its development—it was Monet who was responsible for the name ‘Impressionism’ after an art critic wrote a not-so-flattering review of the first Impressionist exhibition and coined the term based on Monet’s featured work, Impressionist Sunrise (1872).
I gained a new appreciation for Monet and his art, though after almost five hundred pages, it was hard not to be convinced. Despite its length, the book was engaging. What I enjoyed most was how Wullschlager tackled Monet’s life. She got into the details: the other artists in his life, the art dealers, the circumstances that affected the development of his works (the politics, wars, locations, his health), his complicated family arrangements (living with a woman not his wife with her children for several years). Wullschlager’s writing was never dull or academic.
This book is an excellent complement to Paris in Ruins: Love, War, and The Birth of Impressionism. Paris in Ruins focused more on Manet and Morisot and, in hindsight, glossed over Monet’s contributions. This book sets the record straight.
Monet was inspired by the transformation of objects outdoors affected by light and the environment. The impact of light was fundamental to his early works, but I learned that many of Monet’s works were inspired by his garden at his home in Giverny, France. He was dedicated to his garden—its cultivation, especially the lilies. The water lilies that grew in the pond were the subject of some of his most famous series of works painted in his late period—Water Lilies. Wullschlager highlights though just how important Monet’s garden was to him—it provided solace, comfort, and inspiration. (The book includes numerous photographs of Monet in his garden). Reading how much Monet invested in his works, Water Lilies, I’m looking forward to experiencing the Water Lily series in person again. It will be different for sure. Proust described Monet’s gardens best; he said Monet’s garden was a “real transposition of [his] art, rather than a model for a painting” (p. 367).
Like other artists of his era, Monet was challenged by complex personal relationships, by bouts of depression, by second-guessing his work, and by health crises’ (he had cataracts and experienced blindness and sight problems in later life). But he persevered and painted anyway. His works today are still considered some of the best of European art of the late nineteenth to early twentieth century. I was struck by the quote of Monet in his late years that he penned in an autograph album, “All I can say is that painting is very hard” (p 423). There is much to glean from that quote. The way I interpret is that Monet’s craft—his lifelong passion (obsession is more apt), did not come easily—it came with sacrifices, emotional pain, and angst. Yet how fortunate we are to have his art!
Wullschlager sums up Monet’s contributions brilliantly in the epilogue where she writes of Monet’s influence on a new generation of artists: Andy Warhol, David Hockney, and Rothko. Monet: The Restless Vision is a fabulous read. Readers who love art, art history and/or reading about Paris’ history will thoroughly enjoy this wonderful book.