Oil on canvas, 23 5/8 x 29 1/2 in. (60 x 75 cm). Signed lower right, titled on verso.
Catalogue raisonné Philippe Piguet, BHM 103 plate S. 84, Éditions point de vues, Bonsecours, 2012.
Salon des Indépendants, 1905
Vernon, B. Hoschedé-Monet, Salle des Fêtes, 1957, Catalog Nr. 33
Rouen, B. Hoschedé-Monet, Musée des Beaux-Arts, Catalog Nr. 16
Germaine Salerou geb. Hoschedé, Giverny (stamp verso)
Collection Gérard Piguet
Price: - sold -
Significant work of excellent quality.
The painting is characterized by a special affinity to the work of Claude Monet. She used the same colors and canvases and was learned from the stepfather his painting style. This subject took Hoschedé-Monet from the area around Rouen, where she lived since their marriage in 1897 with the eldest son of Monet, Jean.
She was the second daughter of Ernest Hoschedé and Alice Hoschedé. Ernest was a department store magnate in Paris and an art collector of impressionist paintings. In 1876, he commissioned Claude Monet to paint decorative panels in his residence, the château de Rottembourg in Montgeron. In 1877 Ernest Hoschedé, went bankrupt and his art collection was auctioned off. Ernest, Alice, and their 6 children moved into a house in Vétheuil with Monet, Monet's first wife Camille, and the couple's two sons, Jean and the infant Michel. Ernest, however, spent most of his time in Paris, and eventually abandoned his family and went to Belgium.
During 1879 after the death of Camille Monet, Alice Hoschedé and the 2 Monet children lived together in Paris. Eventually joining Monet in Vétheuil, and then moving with him to Poissy in 1881 and finally settling in Giverny in 1883. The relationship between Claude Monet and Alice Hoschedé developed and became official although they remained unmarried. After Ernest Hoschedé died in 1891 Claude Monet and Alice Hoschedé did marry in 1892.
Blanche became immediately fond of Claude Monet. She was eleven when she discovered the art of painting. She spent long hours in Claude Monet’s atelier and also in Édouard Manet’s.
In 1882 Claude Monet rented a summer house in Pourville, and Blanche started to paint next to him. Blanche became Monet's assistant and pupil. She used the same canvas, the same palette, and the same colors and the same subject.
Paul Durand-Ruel purchased a Haystack by Blanche Hoschedé Monet, and it currently is displayed in Claude Monet’s house in Giverny.
Her work was done en plein air as she did not have an atelier.
The Hoschedé-Monet family shared a lot of time with the American Expatriates. Blanche also painted alongside John Leslie Breck (1860–1899), and Theodore Earl Butler. She had a romance with John Leslie Breck which was stopped by Claude Monet. Consequently, John Leslie Breck left Giverny in 1892 after Theodore Earl Butler’s marriage to Blanche’s sister, Suzanne Hoschedé; a marriage approved by Claude Monet.
Finally, Blanche married Claude Monet’s eldest son, Jean Monet, in 1897. They lived in Rouen and Beaumont-le-Roger until 1913. She painted landscapes such as meadows along the Risle’s river and Poplars and Pines. Upon her husband’s death in 1913 she moved back to Giverny with Claude Monet in 1914 as she spent her time taking care of Claude Monet until his last days.
She adopted an almost pure form of impressionism. At first, she painted for her own pleasure. It is difficult to distinguish her work from Monet’s especially during her first period in Giverny. The palette, brushes, paint and canvases came from Claude Monet. She then painted Claude Monet’s garden, and its surroundings.
A street in Giverny bears her name.