Editing Claude Monet (section)

=== Paris and Algeria ===
From 1858 to 1860, Monet continued his studies in Paris, where he enrolled in [[Académie Suisse]] and met [[Camille Pissarro]] in 1859.{{sfn|Brettell|Hayes Tucker|Henderson Lee|2009|pp=63}}{{Sfn|Januszczak|1985|p=304}} He was called for [[military service]] and served under the [[Chasseurs d'Afrique]] (African Hunters), in [[French Algeria|Algeria]], from 1861 to 1862.<ref>House, John (1986). ''[https://books.google.com/books?id=gRNCG1SIK_wC&dq=monet+chasseurs&pg=PA5 Monet: Nature Into Art] {{Webarchive|url=https://web.archive.org/web/20230417234746/https://books.google.com/books?id=gRNCG1SIK_wC&dq=monet+chasseurs&pg=PA5 |date=17 April 2023 }}''. New Haven, Conn: Yale University Press. p. 5. {{ISBN|9780300043617}}.</ref> His time in Algeria had a powerful effect on Monet, who later said that the light and vivid colours of North Africa "contained the gem of my future researches".<ref>Jeffrey Meyers, "Monet in Algeria", pp 19–24 "History Today" April 2015</ref> Illness forced his return to Le Havre, where he bought out his remaining service and met [[Johan Barthold Jongkind]], who together with Boudin was an important mentor to Monet.<ref name=":4" />

[[File:Monet dejeunersurlherbe.jpg|thumb|{{Lang|fr|[[Le Déjeuner sur l'herbe (Monet, Paris)|Le déjeuner sur l'herbe]]}} (right section), 1865–1866, Paris, with [[Gustave Courbet]], [[Frédéric Bazille]] and Camille Doncieux, first wife of the artist, [[Musée d'Orsay]]<ref>{{Cite web|url=https://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=025651&cHash=22986e3842|title=Musée d'Orsay: non_traduit|website=www.musee-orsay.fr|access-date=2 February 2021|archive-date=31 July 2020|archive-url=https://web.archive.org/web/20200731235453/https://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=025651&cHash=22986e3842|url-status=live}}</ref>]]
Upon his return to Paris, with the permission of his father, he divided his time between his childhood home and the countryside and enrolled in [[Charles Gleyre]]'s studio, where he met [[Pierre-Auguste Renoir]] and [[Frédéric Bazille]].<ref name=":11" />{{sfn|Tinterow|Loyrette|1994|p=418}}{{Sfn|Januszczak|1985|p=154}} Bazille eventually became his closest friend.{{sfn|Levine|1986|pp=65–75}} In search of motifs, they traveled to [[Honfleur]] where Monet painted several "studies" of the harbor and the mouth of the Seine.{{sfn|Tinterow|Loyrette|1994|p=420}} Monet often painted alongside Renoir and [[Alfred Sisley]],<ref name=":63"/> both of whom shared his desire to articulate new standards of beauty in conventional subjects.{{sfn|Tinterow|Loyrette|1994|p=419}}

During this time he painted ''Women in Garden'', his first successful large-scale painting, and {{Lang|fr|[[Le Déjeuner sur l'herbe (Monet, Paris)|Le déjeuner sur l'herbe]]}}, the "most important painting of Monet's early period".<ref name=":63">{{Cite book|last=Weidemann|first=Christiane|title=50 Modern Artists You Should Know|publisher=[[Prestel Publishing]]|year=2017|isbn=9783791383385|pages=20}}</ref>{{Sfn|Distel|Dayez|p=131|Hoog|Moffett|1974}}{{Sfn|Januszczak|1985|p=126}} Having debuted at the Salon in 1865 with ''La Pointe de la Hève at Low Tide'' and ''Mouth of the Seine at Honfleur'' to large praise, he hoped {{Lang|fr|Le déjeuner sur l'herbe}} would help him break through into the Salon of 1866. He could not finish it in a timely manner and instead submitted ''The Woman in the Green Dress'' and ''Pavé de Chailly'' to acceptance.<ref name=":11" /><ref name=":10" /> Thereafter, he submitted works to the Salon annually until 1870, but they were accepted by the juries only twice, in 1866 and 1868.<ref name=":4" /> He sent no more works to the Salon until his single, final attempt in 1880.<ref name=":4" /> His work was considered radical, "discouraged at all official levels".{{sfn|Tinterow|Loyrette|1994|p=418}}
[[File:Three_Cows_Grazing_by_Claude_Monet.jpg|thumb|''Three Cows Grazing'', 1868, pastel on paper]]
In 1867 his then-mistress, [[Camille Doncieux]]—whom he had met two years earlier as a model for his paintings—gave birth to their first child, [[Jean Monet (son of Claude Monet)|Jean]].<ref name=":8" /> Monet had a strong relationship with Jean, claiming that Camille was his lawful wife so Jean would be considered [[Legitimacy (family law)|legitimate]].<ref name=":2" /> Monet's father stopped financially supporting him as a result of the relationship. Earlier in the year Monet had been forced to move to his aunt's house in [[Sainte-Adresse]].<ref name=":11" /><ref name=":10">{{Citation|last1=Groom|first1=Gloria|title=The Beach at Sainte-Adresse|date=2014|url=https://www.jstor.org/stable/j.ctt1vjqpmr.1|work=The Beach at Sainte-Adresse from Monet Paintings and Drawings at the Art Institute of Chicago|pages=1–6|publisher=[[Art Institute of Chicago]]|isbn=978-0-86559-269-8|access-date=2 June 2021|last2=Shaw|first2=Jill|jstor=j.ctt1vjqpmr.1|archive-date=2 June 2021|archive-url=https://web.archive.org/web/20210602231313/https://www.jstor.org/stable/j.ctt1vjqpmr.1|url-status=live}}</ref> There he immersed himself in his work, although a temporary problem with his eyesight, probably related to stress, prevented him from working in sunlight.<ref name=":11" /><ref name=":10" /><ref name=":4" /> Monet loved his family dearly, painting many portraits of them such as [[L'Enfant a la tasse|''Child With a Cup, a Portrait of Jean Monet'']]. This painting in particular shows the first signs of Monets' later famous impressionistic work.<ref>{{Cite web|url=https://www.huffpost.com/entry/the-backstory-to-claude-monet_n_1724503|title=What Did This $1.4M Painting Have To Do With Monet's Suicide Attempt?|date=2 August 2012|website=HuffPost|access-date=23 January 2023|archive-date=23 January 2023|archive-url=https://web.archive.org/web/20230123115139/https://www.huffpost.com/entry/the-backstory-to-claude-monet_n_1724503|url-status=live}}</ref>

With help from the art collector Louis-Joachim Gaudibert, he reunited with Camille and moved to [[Étretat]] the following year.{{sfn|Levine|1986|pp=65–75}}<ref name=":11" /> Around this time, he was trying to establish himself as a figure painter who depicted the "explicitly contemporary, bourgeois", an intention that continued into the 1870s.<ref name=":11" /><ref name="House">{{Cite journal|last=House|first=John|date=2003|title=Monet's "Gladioli"|url=https://www.jstor.org/stable/23183126|journal=Bulletin of the Detroit Institute of Arts|volume=77|issue=1/2|pages=8–17|doi=10.1086/DIA23183126|jstor=23183126|s2cid=189077027|issn=0011-9636|access-date=22 May 2021|archive-date=22 May 2021|archive-url=https://web.archive.org/web/20210522114634/https://www.jstor.org/stable/23183126|url-status=live}}</ref>{{sfn|Tinterow|Loyrette|1994|p=418}}{{Sfn|Januszczak|1985|p=154}} He did evolve his painting technique and integrate stylistic experimentation in his plein-air style—as evidenced by ''[[The Beach at Sainte-Adresse]]'' and ''[[On the Bank of the Seine, Bennecourt|On the Bank of the Seine]]'' respectively, the former being his "first sustained campaign of painting that involved tourism".<ref name=":11" /><ref name=":10" />

Several of his paintings had been purchased by Gaudibert, who [[Commission (art)|commissioned]] a painting of his wife, alongside other projects; the Gaudiberts were for two years "the most supportive of Monet's hometown [[Patronage|patrons]]".<ref name=":4" /><ref name=":2">{{Cite journal|last=Wagner|first=Anne M.|date=1994|title=Why Monet Gave up Figure Painting|url=https://www.jstor.org/stable/3046059|journal=The Art Bulletin|volume=76|issue=4|pages=613–629|doi=10.2307/3046059|jstor=3046059|issn=0004-3079|access-date=6 June 2021|archive-date=6 June 2021|archive-url=https://web.archive.org/web/20210606155138/https://www.jstor.org/stable/3046059|url-status=live}}</ref> Monet would later be financially supported by the artist and art collector [[Gustave Caillebotte]], Bazille and perhaps [[Gustave Courbet]], although creditors still pursued him.<ref name=":4" />{{sfn|Tinterow|Loyrette|1994|p=418}}