In Rowing Race in Sant'Adélesse, Monet's father appears on the beach in this work, which is recognizable at a glance. However, the intense work fatigued Monet excessively, and in early July, his eyesight deteriorated, and he feared that he would lose his vision from then on, and doctors advised him to avoid painting outdoors. A few days later, everything returned to normal and Monet began painting again.
Monet was inspired and creative during this period, and one of his most famous works was the Garden of Sant'Adelasse. In this work, the colors of Tang calamus, geranium and dry lotus are harmoniously juxtaposed with the sea, sailboat and sky; in addition, exquisite still lifes are also presented. Through this work, we can see the prototype of the important works of Impressionism in the future.
The Garden of Sant'Adlesse
In this and other works created at the same time, Monet depicts the image of the father, illustrating the close relationship between father and son. Monet's father also began to have confidence in Monet's future, and like Monet's aunt, he occasionally expressed his sincere appreciation for Monet.
With the onset of winter, Monet stayed longer in Paris; when the weather became extremely cold, he went to Bouzivar to create the Ice Floes on the Bougivalsena River; and then returned to the house on The Avenue Saint-Louis to live with Carmey. One night in January 1868, Monet wrote to Bazier, expressing despair in his words, complaining that heaven had been unfair to them. After much deliberation, Bazier gave Monet a solemn reply: he was now moving the studio, located at 9 Avenida de la Paix (renamed Rue Condamien in 1869), near Rue Saint-Louis, and he would soon invite Monet to share the studio with him.
Ice floes on the Bougis Valsena River
Bazier's loyalty and friendship to Monet remained constant, and he persuaded his relative, commander Renona, to buy a still life painting of Monet.
In order to reduce expenses and recreate works on the theme of seascapes, in January and February 1868, Monet returned to his hometown to live with his family, and he created "Le Havre Marina" outdoors, preparing to participate in the salon exhibition. On a day cold enough to "make the pebbles crack," Le Havre's columnist Le Havre, Le Lyon Billo, walked through the snow-covered countryside and saw a surprising scene:
"We saw a foot stove, an easel, a man in three coats, socks in his hands, and a half-stiff face curled up, and this man was Monet, who was observing and studying the snow. An art fighter like Monet can achieve anything with extraordinary courage. ”
Towards the end of winter, Monet returned to Paris from Le Havre. After returning to Paris, he still had time to make a final touch on his work and pick a frame for his work, and then submitted his work before the salon deadline (March 20). Compared with the jury of the previous year's salon, the jury of this salon is more moderate in judging works. Monet's submission of "The Ship From the Port of Le Havre" was recognized by the judges.
In order to avoid the harsh air of Paris, Monet decided to move to the countryside with his wife and children. He most likely followed Zola's advice and came to a village on the outskirts of Bennicott called Grodon to stay in a full-board hotel run by Mrs. Dimon. For Monet, Grodun, located near the Bonniressol-Seine River, was an eye-opener and a place he will never forget, and he settled near the village of Grodun in his later years until his death, and the garden in Giverny was his last and most famous residence.
Monet's stay at Benicott came to an abrupt end, just as his stop at Afrey came to an abrupt end. In a letter to Bazier, he wrote that he had been thrown out of the hotel, and he was naked. After settling in the village of Grodon, He returned to Bennicotte, hoping to depart for Le Havre that evening to see if Mr. Goldiebert could help. Monet, who made his debut at the salon, impressed and greatly appreciated Mr. Goldiebert.
The night Monet returned to Bennicott and did something stupid: he jumped into the Seine. Monet's excessive despair led to the idea of taking his own life, but he was very good at swimming and did not drown. After this incident, he plucked up the courage to overcome despair and never thought of taking his own life again.
When Monet arrived in Le Havre at the end of June 1868, the International Maritime Exposition was in full swing. Fortunately, the exposition's painting exhibition is scheduled to open in late July, so Monet has plenty of time to prepare five works for the exhibition. Courbet introduces Monet and Alexandre Dumas, and the three decide to visit the beautiful Ernestina together the next day, the hostess of a well-known hotel in Saint-Joan. Saint-Joan is a fishing village in the north of Le Havre, not far behind the Eitta Coast.
During this visit, Monet, as a quiet bystander, saw the unforgettable wisdom of Dumas and the culinary skills of Dumas and Courbet.
Portrait of Mrs. Goldiebert
Monet's family, despite Monet's persuasion, was reluctant to accept Kameyi and Jayne. So he took his wife and children to the port of Fecamp, where the scenery is fascinating, and newfoundland fishermen can be found everywhere, where Monet hopes to find shelter and inspiration for his heart.
In early August 1868, Monet's financial situation was lit up red, but a month later Monsieur Godibert asked her to return to Le Havre to paint a portrait of his wife, and Monet's financial situation improved.
Monet arrived in Le Havre on 7 September 1868, when Madame Deibert had already travelled to Fort Ardennes-Saint-Louis. Creating at Ardennes-St. Louisburg, he felt a hellish life of "disappointment – being insulted – rekindling hope – being disappointed again". The portrait was started during the rose blossom season and was not finally completed until the end of October. He had previously expended a great deal of effort to create the portrait, but some members of the Goldiebert family were cold-hearted about this masterpiece that could make them famous, and the gap between the two was probably the reason for Monet's deep despair.
Only Mr. Goldiebert, who was not influenced by others and viewed Monet's creation objectively, spoke highly of the Portrait of Madame Godiport in front of Boudin and supported Monet as always. Mr. Goldiebert's support for Monet continued until his death in 1870. On 26 October 1877, Monsieur Godibert's widow, Madame Godibert, at the age of 33, died in Le Havre.
Monet was only 22 years old when she painted a portrait of Madame Godiebert. Monet forever fixed the noble image of Madame Godiebert in this portrait...