Silhouetted against a dazzling, azure blue sky, Suzanne Hoschedé, soon to become Monet's adoptive daughter, is revealed as The Woman with a Parasol in this painting of 1886. With dazzling precision and the greatest informality, the artist captured this impressionistic reproduction of an epiphanic moment, forging a vast mosaic of swirling fabric and rushing wind, suggesting the infinite and intangible force of light and air.
After an extensive period of continental travel and the death of his long-term partner Camille, the wife of one of his primary patrons, Alice Hoschedé, became like a mother to Monet’s children; Jean and Michel. As Ernest worked to reestablish himself as a successful businessman, thus spending little time at home, Alice and Monet’s relationship developed into love.
Eloping together, Monet decided to travel the country until he found the countryside and house that suited him, Alice, and their respective children. A few years later the pair settled on Giverny, a village about eighty kilometers from Paris. In the early 1880s, Monet settled with his new partner Alice and their children from previous partners at their family home in Giverny.
Suzanne Hoschedé becomes Monet's adoptive child, and it is easy to see, within The Woman with a Parasol an affectionate hesitance towards the task of playing father to such a towering figure of confidence and life. As with many of artist's canvases, the reconciling qualities of the natural foliage encases and protects them and remains constant despite the upheavals of domestic life. The new Monet family loved the house at Giverny, and the artist spent the rest of his life working in the garden on the premises. Along with his new wife Alice, the family would remain in the house for the rest of their lives.
The Impressionist painting The Woman With A Parasol displays a daring composition, while Monet chose a lower viewpoint than the usual. His mesmerizing play with light and perspective places the viewer sitting in the field of green and ochre grass. The painter portrays a boy in the background, with his legs hidden behind the vegetation in the forefront. The setting sun is behind the two figures, casting a shadow in front of them. Monet beautifully captures this breezy atmosphere by giving movements to the grass and the clouds – making it look like they swirl over her face.
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