![]() The indistinct forms of the port run across the canvas, and a diagonal from the left edge through the three small boats emphasizes the positioning of the orange sun, while the middle small boat repeats the sun’s position in the alternative quarter. The composition, though simple, like that of most Impressionist paintings, is nevertheless dramatically effective. In the top left a brown (a mixture of the same orange and blue) gives a linking colour note. The colour character of this painting relies on the opposition of complementaries or near complementaries – orange and blue. Turner (1775-1851), who is generally thought to have been an important influence on both him and the other Impressionists, and he may also have seen some of the early Nocturnes by his contemporary James Whistler (1834-1903). While there, he had seen the work of J.M.W. Influenced by both Eugene Boudin (1824-98) and Johan Barthold Jongkind (1819-1891), Monet had only recently returned from London, and his abiding impression of the city, recalled later, was of its fog. The painting gives a suggestion of the early morning mist, at that time clogged with the industrial smoke of the city, and has a strong relationship to the earlier views of mist and fog done by the artist in London in 1870. The only evidence of life is the lazy action of the oarsman in the most sharply defined part of the composition. It was actually painted in one sitting by Monet, standing at a window overlooking the harbour at sunrise. Impression, Sunrise is a slight sketch, almost certainly completed on the spot in a single sitting, depicting the harbour at Le Havre as the sun rises over the cranes, derricks and masts of the anchored ships. Impression sunrise by claude monet characteristics
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