Poster Tulip Fields at Sassenheim by Claude Monet

Oscar-Claude Monet (UK: /ˈmɒneɪ/, US: /moʊˈneɪ, məˈ-/, French: [klod mɔnɛ]; 14 November 1840 – 5 December 1926) was a French painter and founder of impressionist painting who is seen as a key precursor to modernism, especially in his attempts to paint nature as he perceived it.[1] During his long career, he was the most consistent and prolific practitioner of impressionism's philosophy of expressing one's perceptions before nature, especially as applied to plein air (outdoor) landscape painting.[2] The term "Impressionism" is derived from the title of his painting Impression, soleil levant, exhibited in the 1874 ("exhibition of rejects") initiated by Monet and his associates as an alternative to the Salon. Monet was raised in Le Havre, Normandy, and became interested in the outdoors and drawing from an early age. Although his mother, Louise-Justine Aubrée Monet, supported his ambitions to be a painter, his father, Claude-Adolphe, disapproved and wanted him to pursue a career in business. He was very close to his mother, but she died in January 1857 when he was sixteen years old, and he was sent to live with his childless, widowed but wealthy aunt, Marie-Jeanne Lecadre. He went on to study at the Académie Suisse, and under the academic history painter Charles Gleyre, where he was a classmate of Auguste Renoir. His early works include landscapes, seascapes, and portraits, but attracted little attention. A key early influence was Eugène Boudin who introduced him to the concept of plein air painting. From 1883, Monet lived in Giverny, also in northern France, where he purchased a house and property and began a vast landscaping project, including a water-lily pond. Monet's ambition to document the French countryside led to a method of painting the same scene many times so as to capture the changing of light and the passing of the seasons. Among the best-known examples are his series of haystacks (1890–91), paintings of the Rouen Cathedral (1894), and the paintings of water lilies in his garden in Giverny that occupied him continuously for the last 20 years of his life. Frequently exhibited and successful during his lifetime, Monet's fame and popularity soared in the second half of the 20th century when he became one of the world's most famous painters and a source of inspiration for burgeoning groups of artists. When Durand-Ruel's previous support of Monet and his peers began to decline, Monet, Renoir, Pissarro, Sisley, Paul Cézanne, Edgar Degas, and Berthe Morisot exhibited their work independently; they did so under the name the Anonymous Society of Painters, Sculptors and Engravers for which Monet was a leading figure in its formation.[12][15] He was inspired by the style and subject matter of his slightly older contemporaries, Pissarro and Édouard Manet.[41] The group, whose title was chosen to avoid association with any style or movement, were unified in their independence from the Salon and rejection of the prevailing academicism.[12][42] Monet gained a reputation as the foremost landscape painter of the group.[16] At the first exhibition, in 1874, Monet displayed, among others, Impression, Sunrise, The Luncheon and Boulevard des Capucines.[43] The art critic Louis Leroy wrote a hostile review. Taking particular notice of Impression, Sunrise (1872), a hazy depiction of Le Havre port and stylistic detour, he coined the term "Impressionism". Conservative critics and the public derided the group, with the term initially being ironic and denoting the painting as unfinished.[15][42] More progressive critics praised the depiction of modern life—Louis Edmond Duranty called their style a "revolution in painting".[42] He later regretted inspiring the name, as he believed that they were a group "whose majority had nothing impressionist".[14] The total attendance is estimated at 3500. Monet priced Impression: Sunrise at 1000 francs but failed to sell it.[44][45][46] The exhibition was open to anyone prepared to pay 60 francs and gave artists the opportunity to show their work without the interference of a jury.[44][45][46] Another exhibition was held in 1876, again in opposition to the Salon. Monet displayed 18 paintings, including The Beach at Sainte-Adresse which showcased multiple Impressionist characteristics.[28][47] For the third exhibition, on 5 April 1877, he selected seven paintings from the dozen he had made of Gare Saint-Lazare in the past three months, the first time he had "synced as many paintings of the same site, carefully coordinating their scenes and temporalities".[48] The paintings were well received by critics, who especially praised the way he captured the arrival and departures of the trains.[48] By the fourth exhibition his involvement was by means of negotiation on Caillebotte's part.[15] His last time exhibiting with the Impressionists was in 1882—four years before the final Impressionist exhibition.[49][50] Monet, Renoir, Pissarro, Morisot, Cézanne and Sisley proceeded to experiment