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Most critics did not think Impression, Sunrise was one of the most notable pieces; it was briefly discussed only five times in all the reviews of the exhibition.  However, the reviews of the exhibition and of Monet’s painting both provide insight into the development of the movement and Monet’s work and development as an artist.
Théodore Duret wrote that rendering idealized impressions instead of landscapes is what epitomises Monet’s work and the impressionist movement. Considering Impression, Sunrise and Monet’s work following the 1874 exhibition, Duret wrote “it is certainly the peculiar qualities of Claude Monet’s paintings which first suggested [the term impressionism]”. Claiming that “Monet is the Impressionist painter par excellence”, Duret argued that Monet inspired a new way of seeing and painting, that Monet was “no longer painting merely the immobile and permanent aspect of a landscape, but also the fleeting appearances which the accidents of atmosphere present to him, Monet transmits a singularly lively and striking sensation of the observed scene.” 
A critic who attended the exhibition, M. Louis Leroy, wrote a now famous article in Le Charivari in which he used the term “Impressionist” based on the title of this painting. Despite the fact that Leroy had used the word derisively, the group decided to adopt it and painters such as Renoir and Degas were happy to be called Impressionists
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.
Sunrise (Marine); Claude Monet
Even though it is an 1872 masterpiece, the message of Claude Monet Impression Sunrise painting is as relevant as ever: Things are not always what they seem. The human eye can be tricked and deceived. A busy street in the morning will look like another street altogether when evening comes. The common phrase “to see is to believe,” passes as an old adage. A person’s perception of the world should extend beyond the borders of the visual cortex. It must be felt, heard, smelt, and experienced. It is a work of not only an impressionist but also a relativist.
This work was painted from a hotel window at Le Havre in 1873 (Monet later dated it incorrectly to 1872). It was one of the nine works that he showed at the First Impressionist Exhibition of 1874. Of all those displayed there, this is probably the most famous picture, not so much because of any crucial status within Monet’s oeuvre, but rather for the criticism it attracted from the reviewers, which gave rise to the name of the movement. On 25 April, ten days after the exhibition had opened, an article appeared in the satirical journal Le Charivari in which the critic Louis Leroy described a fictitious conversation between two visitors. One of them was a landscape painter who, while looking at this work, exclaimed: ‘Impressionism, I knew it; after all I’m impressed so it must be an impression. What freedom! What ease of workmanship! Wallpaper in its embryonic state is more finished than this seascape!’ The article was entitled ‘The Exhibition of the Impressionists’, and the label stuck thereafter, as well as being used by such other critics of the exhibition as Castagnary.
Despite its notoriety the painting is in some ways untypical of Monet’s own work of this period and of Impressionism more generally. It shows little of the Impressionist treatment of light and color. The colors are very restrained and the paint is applied not in discrete brushstrokes of contrasting colours but in very thin washes. In some places the canvas is even visible and the only use of impasto is in the depiction of the reflected sunlight on the water. The painting is strongly atmospheric rather than analytical and has a spirit somewhat akin to Turner’s works. Nevertheless, it does illustrate particularly well one of the features of Impressionist painting that was thought so revolutionary. The technique is very ‘sketchy’ and would have been seen as a preliminary study for a painting rather than a finished work suitable for exhibition. (Monet himself saw the work as unfinished, and it was for that reason that he adopted the title ‘Impression’ to distinguish it from such works as his other view of Le Havre in the same exhibition, though this too lacks the finish then expected.) In this work Monet stripped away the details to a bare minimum: the dockyards in the background are merely suggested by a few brushstrokes as are the boats in the foreground. The whole represents the artist’s swift attempt to capture a fleeting moment. The highly visible, near abstract technique, compels almost more attention than the subjectmatter itself, a notion then wholly alien to viewers.
Now his most famous painting of all – Impression, Soleil Levant or Impression, Sunrise – is being shown in the southern hemisphere for the first time.
When Claude Monet was buried at the age of 86, French statesman Georges Clemenceau was horrified to see a black shroud covering his coffin. “No black for Monet!” he cried, ripping it off, before he covered his friend with a brighter cloth instead.