Monet is famously associated with Impressionist painting, with its emphasis on the changing qualities of light, bold color, and quick brush strokes. Although his style evolved, his particular love for large and artistic landscapes never sunk and these works still have great and lasting influence
For over 40 years, Monet worked against the rigid conventions deeply embedded in French art. French Renaissance had a great influence on Monet’s works. The desire of the audience to view the finished artworks instead of the classical style of unfinished paintings. Despite Monet’s struggle due to his poor family support system and his unwavering indulgence in art to show light and shade existed throughout his life.
During his lifetime, Monet produced more than 2000 paintings and over 500 drawings. Like all the artists, he associated with, his development was individual, his focus and determination channelled and his out unstinting. Rejecting traditional training offered at long-established institutions, he mixed with avant grade of his day, rebelling against the accepted methods of painting. By end of this lifetime, Monet had established himself as one of the greatest and most popular artists of all time.
Monet had the opportunity which he encashed thoroughly of traveling across Europe and France and painting abundantly, practically never tiring of interpreting what he saw and adopted.
Monet enjoyed painting modern figures acting naturally in garden settings, but he did not take pleasure in painting the entire canvas indoors and always desire to do much of the artwork outside.
The primary distinction between “Women in a Green Dress” and the works of Monet’s contemporaries lies in his blend of traditional and modern elements. Monet combines convention with innovation by depicting a contemporary woman in fashionable attire using the intense, dark tones of classic portraiture. She is neither a modest saint nor a haughty monarch, but a modern woman. While his friends embraced a fresh approach, none ventured as boldly as Monet, who painted loosely, often merging traditional and modern features. This approach became a significant focus in Monet’s work for several years. The publicity generated by the painting enabled Monet to sell several more pieces, and two years later, the editor of L’Artiste, Arsene Houssaye (1815-1896), purchased “Woman in a Green Dress” for 800 francs.
Buoyed by the success of “Woman in a Green Dress,” Monet aimed to create another piece featuring figures in a landscape. He moved to Sèvres in the southwestern suburbs of Paris and wrote to Gautier, saying, “I am happier than ever… I am working a lot, and my courage is higher than ever. My success at the Salon secured me several picture sales.” Monet also shared with friends that in his quest to find the perfect location for his new painting, “Woman in the Garden,” he rented a house and dug a deep trench in the garden. Using a system of pulleys, he raised and lowered his enormous canvas, allowing him to paint any part of it on the spot. Although this is not out of bounds of reality considering Monet’s personality, it has never been verified. Monet wanted to ensure that masses must know that he was in the midst of producing another plein air painting.
Monet spent much time at his studio in Honfleur, however, the Plein air painting was executed and completed outside of his studio. The final finished painting is a picture of modern life set in a dull and natural landscape. With detailed brushstrokes and jovial colours created a pattern of fashionable gowns worn by a woman, three of whom were posed by Camille.
Jeanne-Marguerite Lecadre in the Garden, 1867. The Woman in white is a cousin of Monet.