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Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet
Woman with a Parasol, facing right - Claude Monet

Woman with a Parasol, facing right - Claude Monet

The similarity of this work to Woman with a Parasol, painted 10 years earlier, is striking. Here Claude Monet is painting the daughter of his second wife, Suzanne Hoschedé. A misunderstanding quickly arouses our curiosity: the wind is blowing from right to left, while the grass seems to be leaning to the right. We are here in full impressionism: the artist goes beyond the strict reality, to exploit the feeling, suggested with plays of light and color. Thus, the young woman has no real face. However, the subtle shading of the eyes and mouth, the slightly tilted head, give the feeling of a certain benevolence.

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The artwork in a nutshell

The similarity of this work to Woman with a Parasol, painted 10 years earlier, is striking. Here Claude Monet is painting the daughter of his second wife, Suzanne Hoschedé. A misunderstanding quickly arouses our curiosity: the wind is blowing from right to left, while the grass seems to be leaning to the right. We are here in full impressionism: the artist goes beyond the strict reality, to exploit the feeling, suggested with plays of light and color. Thus, the young woman has no real face. However, the subtle shading of the eyes and mouth, the slightly tilted head, give the feeling of a certain benevolence.

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