Word: monet
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...that inheritance was locked in a set of genes that usually bred true, but once in a while spontaneously "mutated" to produce a new characteristic that thereafter bred true and thus produced evolution's changes. This knowledge undercut the Lamarckian concept-named for Jean Baptiste Pierre Antoine de Monet, Chevalier de Lamarck (1744-1829)-that characteristics could be acquired in response to environment and become hereditary.* The cause of mutations remained a mystery...
When in 1862 Sisley joined the class of the renowned Parisian teacher Charles-Gabriel Gleyre, two fellow students happened to be Pierre-Auguste Renoir and Claude Monet. Monet disdained Gleyre, who once berated him for painting a model with all its deformities. "Nature, my friend, is all right as an element of study," said Gleyre, "but it offers no interest. Style, you see, is everything." By 1864, Renoir, Monet, Sisley and their fellow student Jean Bazille had settled down near Fontainebleau to paint nature as they...
...Courbet-like realism, and the work he did in the 1870s has usually been considered his best. In the Aqueduct at Marly his palette was open, his brush light and sure. Sisley never played rough with nature, nor did he like to intrude too far upon its secrets. While Monet atomized the sun, Sisley let it wash gently over his scenes, neither searing nor dazzling...
From the estate of former Massachusetts Governor Alvan Tufts Fuller-which last spring left a Turner, a Gainsborough and a Reynolds to Washington's National Gallery of Art-came nine paintings worth $500,000 to the Boston Museum of Fine Arts, including two Renoirs, a Monet, two Romneys and Van Dyck's portrait of Charles I's daughter, Princess Mary (just prior to her 1641 marriage to Prince William of Orange at age nine...
...life of their own: "Weeping and laughing, hot and holy, like love songs and eroticism, like chants and magnificent chorales. Vibrating, they peal like silver bells and clang like bronze bells, proclaiming happiness, passion and love, soul, blood and death." The "sweetness, often sugariness" of Renoir and Monet was not to his harsher taste, and he complained bitterly in the years before World War II that "their art, because it meets popular taste, is elected darling of the world...