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381:; that Hoschedé bought it at a high price and Monet secretly repurchased it back. Another art historian believes that the purchase was a "face-saving fable" to move the public attention away from the embarrassing criticism. The hypothesis that the unprecedentedly high price was not real offers an explanation for the content in a letter from Monet to his friend Édouard Manet, in which the painting was mentioned. Monet wrote:
252:, depicted on a rosy red background. Separated from the others with a contrasting background, it draws attention as the woman's face tilts in the opposite direction to Camille's, echoing the other. While Camille looks out at the viewer with a smile, the woman in the fan shows an almost astonished facial expression looking at her European counterpart.
323:, a famous art critic and collector of Japanese artworks, commenting that it was "superb" to paint the heavily detailed kimono. Other scholars argue that this letter may have been an "advertisement" instead of Monet's true words, and motivated by a desire to influence notable critics who held an interest in Japonisme such as Burty.
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It is possible that Monet had informed Manet of his trick, and that he had warned him not to tell anyone else, or that Monet wanted to hide from the public the painting
Camille had modeled for, given the criticism of the painting's sexually suggestive nature, though no one mentioned Camille's name in
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had sold for a very decent price, Monet was said to stated that he was ashamed by the fact of having painted the work simply to please the market, calling it "a piece of filth". Some scholars believe that he may have been more committed to this subject than these comments would suggest; when the work
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embroidery on
Camille's robe, positioning the face of the samurai in the near centre of the canvas. The depiction of the samurai, with dark hair, a stern facial expression and a strong grip on the sword in his belt, contrast Camille - with blonde hair, holding a fan delicately and smiling - strongly,
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The criticism seemed to embarrass Monet, who likely withdrew the work from the exhibition before its end to prevent public viewing, though he claimed the work had been purchased by a secret buyer at the unbelievably high price of 2,020 francs. Many art historians have questioned the authenticity of
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Although the museum stopped allowing visitors to wear the kimono in response to the criticisms, the program was defended by some, with Japan's deputy consul general telling the press that the protest did not make sense from a
Japanese perspective. Japanese counter-protesters led by Timothy Nagaoka
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Monet himself did not have a high opinion of the work, describing it to
Bernheim and Gimpel as "une saleté ". The mixed reception has continued to the twenty-first century, with critics such as Julian Barnes, in a generally enthusiastic introduction to Monet, singling out the piece as "ferociously
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praised the work for its innovation and bold use of colors, but many critics described the work as "bizarre" and sexually suggestive. The critic Simon Boubée wrote in his review: "He has shown a
Chinese in a red robe with two heads, one is that of a demi-mondaine placed on the shoulders, the other
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Money became one of Monet's biggest troubles in the 1860s. His father had cut his allowance due to Monet's rebellious decision to create works unsuitable for the state-sponsored Salon exhibitions. Although Monet's financial condition improved in the early 1870s after his works were recognized and
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that of a monster, placed we dare not say where." Other writers pointed out the placement of the samurai's head on the robe as being suggestive, coupled with the depiction of unshesthing his sword. Camille's "coquettish" facial expression was also said to be part of the erotic symbolism.
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while wearing a replica of the kimono in the painting. The kimono, made in Kyoto, was offered by NHK, the
Japanese cosponsor of the initiative. The kimono was first exhibited in several Japanese cities, and visitors to the exhibition were invited to pose for photos wearing the kimono.
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blog titled "Decolonize Our
Museums" criticized the "Kimono Wednesday" event as a form of "cultural appropriation", and described it as "enacted by a historically white institution that retains the 'power to represent—and therefore dominate—other ethnic and cultural groups'".
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Monet chose the subject of
Japonisme partially for its popularity in the Parisian art market in the 1870s, with his later works reflecting a deeper level of understanding and application of Japanese aesthetics, compared to the comparatively surface-level depiction shown in
391:. I have promised to keep it quiet, it would inconvenience me. I count, then, on your discretion and, in case you may already have dropped a word to Dubois, recommend to him the most complete silence, otherwise, there would be endless gossip and annoyances for me."
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In desperate need of money, Monet created this painting of his wife in a red kimono that he borrowed from a friend, and sent the painting to Durand-Ruel's gallery in the second
Impressionism exhibition of 1876, along with 18 other paintings, including the famous
265:, this support began to erode due to Durand-Ruel's difficulty in selling them; due to the loss of this important source of income and the expenses Monet faced in moving into a new house, beginning in 1874, he began to fall back into financial difficulty.
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fans. Camille, whose hair was dark, wears a blonde wig, emphasizing her identity as a
European woman, indicating that the painting shows the performance and appropriation of Japanese culture rather than an authentic Japanese environment.
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visited the exhibition wearing their own kimono after the MFA stopped allowing visitors to pose wearing the replica, arguing that kimono could be enjoyed by people of all ethnicities, not only the Japanese.
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professor Shaun O'Dwyer also defended the program, citing his concern of the shrinking nature of the traditional kimono making industry, and the need of any possible publicity for its survival.
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The MFA brought the kimono to Boston and continued the activities that had taken place in Japan. The event drew criticism from protesters, who described the program as an example of
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awful". The MFA curator notes, by contrast, describe it as "a virtuoso display of brilliant color that is also a witty comment on the current Paris fad for all things Japanese".
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drawing attention again to the difference between the "Japanese" setting and the European woman within it. Camille's raised right hand holds a folding fan in the colours of the
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After being exhibited in the second Impressionism exhibition in 1876, the painting received attention, though not always positive, from art critics. Critics
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In 2015, the Museum of Fine Arts, Boston held a special program called "Kimono Wednesdays" in which visitors were invited to pose in front of
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this record-breaking price, with a variety of different explanations. Some believe that it was a publicity stunt played by Monet and
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Camille's body, turned in profile, shows her face turned towards the viewer, a gesture likely inspired by gestures found in
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Japonisme and the rise of the modern art movement : the arts of the Meiji period : the Khalili collection
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Another possible motivation for the creation of this painting is that Monet wished to "compete" with his friend
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The painting was first exhibited in the second Impressionism exhibition of 1876, and is now exhibited at the
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1921, sold by Lehman to Duveen Brothers, Inc., London; 1937, shipped from Duveen, London to Duveen, New York
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The contrast between Camille and the painting's faux-cultural setting is increased further by a backdrop of
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April 19, 1877, anonymous ("L.") sale, Hôtel Drouot, Paris, lot 48, to Constantin de Rasty (d. 1923), Paris
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in 1873. There is no solid evidence that Monet had seen this work in person before he painted the
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fans. Though most depict only hazy Impressionist landscapes, with one on the left showing a
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634:. Paris, France : Musée Marmottan Monet; Vanves, France : Hazan. pp. 52–59.
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In the painting, Monet depicts Camille in a padded, heavily decorated red kimono (an
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Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet, and Rodin
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connection with the work until Monet revealed her role to Georges Bernheim and
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April 14, 1876, Monet and Ernest Hoschedé sale, Hôtel Drouot, Paris, lot 37
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in 1918, the blond wig having disguised her identity until this point.
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1920, sold by Rosenberg to Philip Lehman (b. 1861 - d. 1947), New York
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Forty years later, in 1918, when the art dealers Georges Bernheim and
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Monet placed particular importance in the depiction of the detailed
537:. New York: New York : Thames & Hudson. pp. 114–117.
184:) belonging to a famous Japanese actor, standing on Japanese-style
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1918, sold by Rasty to Paul Rosenberg and Co., Paris and New York
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Entitled: Discriminating Tastes and the Expansion of the Arts
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Monet and His Muse: Camille Monet in the Artist's Life
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March 8, 1956, sold by Duveen to the MFA for $ 45,000
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at a high price to ease his financial difficulties.
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Fondation Monet – Giverny home, studio, and gardens
128:. Painted on a 231.8 cm × 142.3 cm (
684:"La Japonaise (Camille Monet in Japanese Costume)"
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356:even described Monet's works as "following suit".
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188:mat and in front of a wall decorated by Japanese
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1231:The Doge's Palace Seen from San Giorgio Maggiore
1095:Arrival of the Normandy Train, Gare Saint-Lazare
872:The Road in Front of Saint-Simeon Farm in Winter
718:. Princeton University Press. pp. 123–126.
619:. University of Chicago Press. pp. 167–176.
522:. National Gallery of Australia. pp. 23–25.
1063:Woman with a Parasol – Madame Monet and Her Son
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350:in February 1874. A 1876 review in the journal
272:Woman with a Parasol - Madame Monet and Her Son
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1630:Paintings in the Museum of Fine Arts, Boston
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593:. Yale University Press. pp. 173–185.
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153:standing in front of a wall decorated by
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1031:Argenteuil Basin with a Single Sailboat
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1560:Portrait of the Painter Claude Monet
880:On the Bank of the Seine, Bennecourt
816:A Cart on the Snowy Road at Honfleur
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1552:Claude Monet Painting in his Studio
1451:(step-daughter and daughter-in-law)
1079:The Studio Boat (Le Bateau-atelier)
1071:A Corner in the Garden at Montgeron
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1568:Monet: The Mystery of the Orangery
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488:List of paintings by Claude Monet
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1191:The Valley of the Creuse, Sunset
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657:"Painting is terribly difficult"
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1207:Champ d'avoine aux coquelicots
1135:Anglers on the Seine at Poissy
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408:'Kimono Wednesday' controversy
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1528:The Improvised Field Hospital
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1159:Garden at Bordighera, Morning
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16:1876 painting by Claude Monet
1223:San Giorgio Maggiore at Dusk
630:Lobstein, Dominique (2017).
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1536:A Studio at Les Batignolles
1127:The Cliff Walk at Pourville
856:The Beach at Sainte-Adresse
615:Gedo, Mary Mathews (2010).
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166:Museum of Fine Arts, Boston
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102:Museum of Fine Arts, Boston
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1039:The Grand Quai at Le Havre
1007:Resting Under a Lilac Bush
275:. Given the popularity of
207:traditional Japanese dance
161:modeled for the painting.
1620:Paintings by Claude Monet
1594:Pays des Impressionnistes
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1199:Boating on the River Epte
848:Regatta at Sainte-Adresse
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518:Bromfield, David (2001).
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1151:The Valley of the Nervia
928:Houses on the Achterzaan
864:Garden at Sainte-Adresse
533:Irvine, Gregory (2013).
1461:Jacques-François Ochard
1015:The Seine at Argenteuil
983:Boulevard des Capucines
803:Le Déjeuner sur l'herbe
714:Lena, Jennifer (2019).
655:Barnes, Julian (2023).
297:(La Dame aux éventails)
216:A Japanese dinner party
1449:Blanche Hoschedé Monet
1271:Le Bassin Aux Nymphéas
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1183:Study of Rocks; Creuse
904:Interior, after Dinner
661:London Review of Books
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1143:Stormy Sea at Étretat
1119:Portrait of Père Paul
1055:The Train in the Snow
999:The Seine at Asnières
991:Lilac Bush in the Sun
952:Regatta at Argenteuil
589:Butler, Ruth (2008).
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250:traditional hairstyle
157:. Monet's first wife
1501:Musée de l'Orangerie
1455:Theodore Earl Butler
1393:San Giorgio Maggiore
1369:Houses of Parliament
1353:Charing Cross Bridge
944:Impression, Sunrise
936:Windmill at Zaandam
888:L'Enfant a la tasse
840:Woman in the Garden
832:Women in the Garden
688:collections.mfa.org
632:Monet the collector
1576:The Impressionists
1111:Beach in Pourville
1047:Snow at Argenteuil
975:The Seine at Rouen
795:View from Rouelles
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778:List of paintings
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1421:(first wife)
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1404:(1897–1926)
1396:(1908–1912)
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1356:(1899–1904)
1340:(1892–1894)
1255: 1914
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424:Orientalism
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310:René Gimpel
229:French flag
194: [
172:Description
116:is an 1876
1614:Categories
1520:Portrayals
1431:Jean Monet
967:Springtime
896:The Magpie
693:2020-11-23
666:2024-01-15
494:References
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366:Émile Zola
256:Motivation
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353:Le Soleil
277:Japonisme
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304:, 1873
241:uchiwa
233:Renoir
191:uchiwa
186:tatami
151:kimono
71:Canvas
68:Medium
42:Artist
1439:(son)
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