Blanche Hoschedé MONET (1865-1947)

Provenance:
• Paul Durand-Ruel, acquired from the artist in 1927
• By descent
• Private collection, France

Bibliography:
• Jean-Pierre Hoschedé, *Blanche Hoschedé-Monet, Impressionist Painter*, Lecerf, Rouen, 1961
• Sophie Fourny-Dargère, *Blanche Hoschedé-Monet, 1865-1947: An Artist from Giverny*, [exh. cat.], A.G. Poulain Municipal Museum, Vernon, 6 April–2 June 1991
• Philippe Piguet, *Blanche Hoschedé-Monet: An Impressionist’s View*, [exh. cat.], Vernon Museum, 8 July–29 October 2017

Blanche Hoschedé conducted her artistic career with humility, signing her works with her maiden name without ever adding “Monet,” despite being known in civil life as Blanche Hoschedé-Monet. Her mother, Alice Hoschedé, married Claude Monet as her second husband in 1892. Five years later, Blanche married Jean Monet, one of Claude Monet’s two sons with Camille Doncieux, thereby becoming the painter’s daughter-in-law in more ways than one.

In her youth, Blanche demonstrated a natural aptitude for painting. Some time before her mother’s marriage to Claude Monet, Blanche spent precious time with him. Devoted, she was sometimes his assistant, sometimes his model, observing closely the man she considered her mentor. She was never formally regarded as his pupil; although Monet offered her occasional critiques, her real training was self-directed.

In the Hoschedé-Monet family, the bond was exceptionally strong. Following the deaths of Camille Doncieux and later of Jean Monet, both Claude and Blanche were profoundly affected. Blanche chose to put her career on hold and returned to Giverny to support her grieving father-in-law, who, dispirited, had ceased all artistic work.

When she eventually resumed painting, Blanche worked, as she had initially, with a spontaneous approach for her own pleasure. Influenced by Monet, her paintings primarily depict the landscapes of Normandy, where land meets sea.

Two major periods can be distinguished in Blanche’s career: before and after the death of Claude Monet in 1926. The present work thus belongs to her first period. Unusually for Blanche, this canvas is dated. In 1888, at age 23, she aimed to attempt an exhibition at the Salon. Advised by Monet and cautioned about the challenge, she likely began producing paintings in January for a possible March exhibition, of which this work appears to be a part. However, its absence from the catalogue and the silence of the jury suggest it was rejected, though no written record confirms this.

For this piece, Blanche chose a landscape she knew well—the road at Le Val near Giverny, which she would return to several times (ill. 1). Like Monet in 1865 with *The Cart* (ill. 2), Blanche found in these winter landscapes a new challenge: capturing the delicate nuances of freshly fallen, pearly snowflakes. The intense cold permeates the entire canvas, as a thick white blanket gently covers the sparse apple trees flanking the road. The fluffy, snow-like effect is achieved through small, fragmented, almost frenzied brushstrokes. A skillful blend of whites and purples continuously reflects the pale brightness of the snow across the canvas.

Blanche Hoschedé’s encounter with Claude Monet in 1876 proved pivotal for her life and career. She was only 11 years old at the time. Her close relationship with this iconic figure of the era fostered her love of painting, which she pursued for her own fulfillment, lending an intimate quality to her approximately 200 catalogued works.

M.O.