Monet Sunrise

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Impression, Sunrise
By Monet

Impression, Sunrise

Oil on canvas, 1873
46 x 53 cm (18 x 21 ins)

As famous as the Mona Lisa or The Night Watchman, this Monet Sunrise canvas was executed in the spring of 1873, while Monet was staying in Le Havre. It was probably completed in a single session, at dawn.

Although not essentially different in spirit from the other Monets shown at the first Impressionist exhibition, held in 1874 at Nardar’s rooms on the Boulevard des Capucines, it was singled out for censure and abuse by critics and public alike.

This may have been partly because its title, Impression Sunrise, was seen as provocative, though it was not in fact new and had previously been used by Huet and Chintreuil.

Louis Leroy, the critic for Charvari claimed to find its name irresistibly funny and made it the particular butt of his article. He introduced the figure of an old academic painter, Vincent, a pupil of David, who came to see the exhibition. After studying the works of Pissarro, Degas and Sisley, the old man paused before Monet’s canvas.

“What does this canvas represent?” he asked. “Look at the label”.

“Impression, Sunrise”.

“Impression, I thought as much. I was impressed, and I thought to myself, yes, there’s bound to be an impression in there somewhere…and what freedom, what ease in the handling! Designs for wallpaper are more finished than this seascape!”

By the end of his tour, old Vincent had become quite mad and started doing a scalp dance, shouting: “Wah Wah Wah!… I am the impression that advances, the avenging palette knife!”

Impressionism had found its name. Although taken aback at first, the artists adopted with pride the description that had been intended as an insult. In spite of all the ridicule it attracted Impression, Sunrise immediately found a buyer. It was purchased by Ernest Hoschede for 800 francs, an inconsiderable sum for a work that was regarded as little more than a sketch. It was re-sold at a loss some years later, for 210 francs, to Dr de Bellio, a Rumanian collector who often came to Monet’s aid in his darkest days. Together with other Monets, the painting was bequeathed to the Musée Marmottan by the collector’s daughter.

It is now beyond price as a historical document and as a painting in its own right.

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