"Impressionism, Fashion, and Modernity"

Claude Monet, Camille
Written by Gloria Groom

In February 1866, having temporarily abandoned his monumental Luncheon on the Grass (cats. 38, 39), Claude Monet hurriedly prepared a new canvas showing his nineteen-year-old mistress, Camille Doncieux, in a green-and-black striped walking dress, small “Empire” bonnet, and fur-trimmed jacket (cat. 16). For an artist with no official academic standing at the Salon (where he refused to be listed as a student of his official teacher, Charles Gleyre), Monet’s life-size Camille was the equivalent of a Prix de Rome, his first success in the Parisian art world and his largest finished canvas to date.1 It was both courageous and conservative, undertaken to garner critical support as well as to placate his aunt Marie-Jeanne Lecadre, who had threatened to cut off his monthly allowance.2

Portraits were a mainstay of the Salon of the Second Empire and in 1866 made up approximately one in seven of

Article source: http://chicagotonight.wttw.com/2013/08/28/impressionism-fashion-and-modernity

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