impression sunrise monet description chegg
“‘Ah! This is it, this is it!: he cried in front of n. 98. ‘This one is Papa Vincent’s favorite! What is this a painting of? Look in the catalogue.’ ‘Impression, Sunrise.’ ‘Impression– I knew it. I was just saying to myself, if I’m impressed, there must be an impression in there… And what freedom, what ease in the brushwork! Wallpaper in its embryonic state is more finished than this seascape!”  
Impression, Sunrise depicts the port of Le Havre at sunrise, the two small rowboats in the foreground and the red Sun being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that “are not trees but smoke stacks of packboats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky.”  In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving the background unobscured.
At this time Monet was still painting scenes of urban and industrial life, though his vision was entirely that of a landscape painter and his interest mainly in the effects of light rather than in any specific architectural features or the social significance of the manifestations of industry. The most obvious characteristic of Impression, Sunrise is its immediacy of execution and the way it captures just one perceived instant. The forceful, clear shape and strong colour of the sun provides the keynote for the work, with the dense, muted pale blue surrounding it providing the opposition of complementary colours which enhances the brilliance of both. The dark note of the nearest boat identifies and stabilizes the colour key, the darkest element in the whole painting being the single near-black accented horizontal defining the waterline. With the passage of time, underpainting sometimes begins to come through, and here we can see some early drawing in the lower left- and right-hand areas, further evidence of the urgency and immediacy of the painting.
The Beach at Trouville (1870) Wadsworth Atheneum, CT.
Rapid oil painting showing complete mastery of outdoor work.
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The answer is they are almost the exact same value, as revealed by the grayscale image below. There is basically no value contrast, only saturation and hue contrast. The dark boat, on the other hand, represents a strong value contrast from the surrounding colors.