Le Pont Japonais a Giverny by Blanche Hoschede-Monet

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About the Item

Blanche Hoschede-Monet 1865-1947• French Le Pont Japonais a Giverny Signed 'Blanche Hoschede' (lower left) Oil on Canvas This enchanting work by French artist, Blanche Hoschede-Monet depicts the exquisite gardens of Giverny and the Japanese pond that Claude Monet made so famous in his paintings of water lilies. Difficult to differentiate from the work of the impressionist master, Monet, Hoschede- Monet's work was tremendously influenced by her stepfather. In this dreamy painting depicting the Japanese pond at Giverny, Hoschede-Monet's work is illuminated and glistening, showing a mastery of impressionist technique. Called the "Blue Angel" by French Prime Minister George Clemenceau because of her devotion to Monet and because of her ingenious use of blue in her canvases, Hoschede-Monet infused Le Pont Japonais a Giverny with a dappled turquoise sky and a serene and mesmerizing landscape, punctuated by deep indigo. Hoschede- Monet was born in Paris on November 10, 1865 to Ernest and Alice Hoschede. Her father was an affluent businessman who collected impressionist paintings. In 1878 the family became impoverished and moved to the Parisian suburb of Poissy to share a house with Claude and Camille Monet and their family. After Camille Monet's death in 1879, Blanche's mother and Monet began an affair and eventually married in 1892. Hoschede-Monet began to paint when she was 11 years old and she followed Monet around carrying his canvases and paints and emulating the older artist in everything that he did. She became entirely devoted to him and listened to all of his instruction. He advised her against academic training and instead the pair embarked on an artistic journey that encompassed gardening and painting with spontaneity and passion. The young artist was a model in many of Monet's paintings, including the famous In the Woods at Giverny 1887 where Blanche is portrayed working at her easel. In 1888 Hoschede-Monet began submitting works to the Salon but was not accepted until 1905 at the Salon des Independants where Durand-Ruel purchased one of her works. In 1887 the American artist John Leslie Breck started working in Giverny and became part of Claude Monet's inner circle. He fell in love with Hoschede-Monet and asked her to marry and return to America with him. Monet refused to allow the relationship to continue and Breck left Giverny in 1892. Blanche eventually married her step-brother Jean Monet in 1897. After her mother's death in 1911 and Jean Monet's death in 1914, Blanche returned to Giverny to live and care for her stepfather as his eyesight and health deteriorated. During this time Monet was working on his mural sized Nympheas (Water Lilies). Because of his close friendship with the French Prime Minister, Clemenceau was able to observe the artistic relationship between Hoschede-Monet and Monet and attributed much of the underpainting of Monet's paintings during this period to Monet’s stepdaughter. According to her brother, Jean-Pierre, Blanche completely renounced her own painting in order to devote herself to Monet and his work during the last 20 years of his life. The relationship between Monet and his stepdaughter was enhanced by their mutual devotion to the gardens at Giverny. Both were avid gardeners and nature became a canvas for their artistic ideals. Between the two of them, they created a virtual utopia that they translated onto canvas, sometimes in collaboration. Their styles were so similar that scholars often remark on how difficult it is to tell their works apart and it can be reasoned that this is because for most of her life, Hoschede-Monet lived in a kind of symbiosis with the master of impressionism. After Monet’s death in1926 Hoschede-Monet began to exhibit her works again in the Paris Salon and was quite successful. Today, her works are extremely rare and seldom available for acquisition. Being one of the few successful female impressionist artists; her work is an important addition to any collection of 19th-century art. This work is accompanied by a certificate of authenticity from Claude Marumo, dated 11.28.97. The work will be included in his forthcoming Blanche-Hoschede Catalogue Raisonne Canvas: 32" high x 21" wide Frame: 40 1/2" high x 30 1/2" wide Provenance: Private collection, France Select Artist's Exhibitions: Galerie Bernheim-Jeune, Paris 1927 Galerie Bernheim-Jeune, Paris 1931 Galerie Daber, Paris: Blanche Hoschede 1942 Galerie Drouot Provence, Paris: Blanche Hoschede-Monet Expositions Salon des independants : 1905-1907, 1929, 1930-36, 1954 Salon de la Societe des Artistes Rouennais: 1907-1911, 1913, 1931-1935 Exposition Galerie Zak, Paris 1954

Creator:
Blanche Hoschedé-Monet (1865-1947, French)
Medium:
Oil,Canvas
Period:
20th Century
Condition:
Excellent.
Gallery Location:
New Orleans, LA
Reference Number:
Seller: 30-02471stDibs: G13051318614

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