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Sider a significant part of his paintings, were his rying the line of the trunks right is Monet's signature, which he — The compositions are generally of two types. The first is a vertical pattern of bars — created by the trunks much concerned soon afterward. seven minutes on one of the poplar paintings is Philadelphia which to the other as the changed. His speed of working easy We cannot be sure of this, as the time of day is number of canvases during the same painting session, fiat the direct sun has dusk has not yet begun felled before "this appalling fear for series, it is Poplars on the Banks of the Epte was prob- tempered when prevented from painting, and is with space, and this element Giverny that year, and Monet, always bad- frustrated a part of twentieth- importance of Monet and the The poplar cept.

This first series resulted in over thirty paint- completed between the summer of which marked an important stage in his deve- ings, all lopment and which he himself regarded as a 1890 and May 1891 when He continued on subsequent the light was exactly right. This, not unnaturally, caused make extended painting trips to other locations. In 1890 when fifteen of them were occasional painting excursions in France and one-man show at Durand-Ruel's gallery. Monet had originally intended to show abroad, but from this time on the focus of his only the Grain Stacks series, but at the last turning point.

The forceful, appropriate to a particular work. Thus of industry. appears that he did not really clear shape and strong color of the sun pro- regard himself as an "Impressionist," and as a vides the keynote for the work, with the description of the diversity of aims of the dense, who exhibited in viding it other painters seems very revealing. However, universally adopted of the became one — it is it hardly the term and is and — only re- is Havre as the sun ricks rises at ships. pro- single With the passage of time, under- and here we Le the lower come through, can see some early drawing in left- and righthand areas, further evidence of the urgency and immediacy of over the cranes, der- and masts of the anchored whole painting being the painting sometimes begins to almost certainly completed on the spot in a harbour in the waterline.