impression sunrise french name
The scene painted in this Monet painting was of the harbor of LeHavre, in France. It characterizes Monet’s work throughout his lifetime, and is sketched in oil paints on canvas, and executed quickly, to capture the atmospheric or natural light moment. While on vacation, Impression, Sunrise was sketched, while Monet was looking out his window one spring morning. Monet’s quick sketches, or pochade, capture a particular light effect, therefore are very spontaneous. Because Monet did not feel that there was enough detail to title the painting Harbor of LeHavre, the name Impression, Sunrise was given, and Monet titled most of his paintings with “Impression” for this reason.
The great French artist, Claude Monet, was responsible for introducing the idea of impression to the art movement of those who painted what they perceived at a certain point in time. Impressionists paint colors perceived with natural light, with little importance given to details. Shapes are formed by how the colors of the scene are detected, forming pictures naturally. Monet originally named the painting Marina, but changed the title to Impression, Sunrise (Impression, Soleil Levant) for the 1874 Exhibition catalog listing. Little did he know, Impression, Sunrise would become the name of a historical art movement.
The hazy scene of Impression, Sunrise strayed from traditional landscape painting and classic, idealized beauty. Paul Smith suggested that with this style, Monet meant to express “other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came.”  Loose brush strokes meant to suggest the scene rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Considering this, Smith claims that “Impression, Sunrise was about Monet’s search for spontaneous expression, but was guided by definite and historically specific ideas about what spontaneous expression was.” 
Leroy’s review is a covert backhand at the progressiveness of Impression, Sunrise, and is often attributed with the using the term impressionism for the first time.
From the 15th April to 15th May 1874 Monet exhibited his work together with Camille Pissarro, Alfred Sisley, Édouard Manet, Paul Cézanne, Edgar Degas, and some other thirty artists. They organized their exhibition on their own as they were usually rejected at the Paris Salon. Most visitors were disgusted and even outraged over such a graffiti. Monet’s Impression, Sunrise enjoyed the most attention and some visitors even claimed that they were absolutely unable to recognize what was shown at all.
This famous painting, Impression, Sunrise, was created from a scene in the port of Le Havre. Monet depicts a mist, which provides a hazy background to the piece set in the French harbor. The orange and yellow hues contrast brilliantly with the dark vessels, where little, if any detail is immediately visible to the audience. It is a striking and candid work that shows the smaller boats in the foregrouna almost being propelled along by the movement of the water. This has, once again, been achieved by separate brushstrokes that also show various colors “sparkling” on the sea.
Gare Saint-Lazare (1877) Musee d’Orsay, Paris.
One of a series of paintings of the station.
We gratefully acknowledge the use of material from MONET (2002) by Trewin Copplestone, an essential read for anyone interested in the history of painting.
Impression: Sunrise was eventually bequeathed by the artist’s daughter amongst other works to the Musée Marmottan, where it currently resides. Despite some initial disappointing sales, it currently is beyond price and is considered a national treasure. It was stolen from the museum in 1985 but recovered in 1990.
Impression: Sunrise was completed at a time when art circles were still dismissing Claude Monet and the other Impressionists, namely Cézanne, Guillaumin, Berthe Morisot, Pissarro, Renoir, Degas and Sisley. Due to constant rejection at the hands of the Paris Salon, the group of artists sought to create their own independent exhibition.