The Principles of Monet Impressionism

Principle I

Impressionism Is Not a Color Style, but a Way of Seeing

Any work that imitates color without understanding perception does not constitute Impressionism.

The essence of Impressionism lies not in resemblance, but in how the painter perceives the world at a specific moment.

Color is the result. The way of seeing is the cause.

Principle II

Monet Did Not Paint Objects, but Light Acting Upon Them

Any approach that treats trees, buildings, or water as fixed objects departs from Monet.

In Monet's paintings:

• Objects are temporary
• Light is the subject
• Boundaries are fluid

Objects exist only as carriers of light.

Principle III

Soft Edges Do Not Mean Carelessness

Blurred edges must be built upon extremely precise judgment.

Monet's looseness was not caused by lack of skill, but by knowing exactly where not to paint.

Uncontrolled looseness is simply failure.

Principle IV

Black Is Not Forbidden, but "Dead Black" Is Unforgivable

Monet avoided pure black not by taboo, but because light contains no black.

Any use of pure black without a clear explanation of light is a fundamental misunderstanding of Impressionism.

Dark areas must still exist within light.

Principle V

Impressionism Rejects the Sense of Completion

Any painting overly finished or excessively refined violates the spirit of Impressionism.

Completion belongs to academic painting. Impressionism remains in a state of becoming.

A painting should feel as if: one more second, and the light would already change.

Principle VI

Technique Serves Perception, Not Performance

Brushstrokes are not decoration, but traces left by perception.

Brushstrokes created to "look Impressionist" are, in essence, deception.

Brushstrokes exist because time was insufficient.

Principle VII

Monet Was Not Romantic, but a Ruthless Observer

Emotion does not come from exaggeration, but from visual honesty.

Monet did not beautify nature. He recorded how light relentlessly consumes everything.

Dishonest beauty is a betrayal of Monet.

Principle VIII

Wrong Color Is More Fatal Than Wrong Drawing

In Impressionism, color judgment takes priority over correct form.

Form may be imperfect, but once light and color are wrong, the entire painting collapses.

Principle IX

Impressionism Does Not Seek Eternity, Only the Present

Any attempt to create "timeless composition" within Impressionism should be questioned.

Impressionism rejects canon. It responds only to the present moment.

Principle X

Failing to Paint Monet Is Not Shameful; Failing to Realize It Is

Admitting "I do not yet see clearly enough" is the true beginning of Impressionism.

The real problem is not poor painting, but the refusal to confront one's own limitations of perception.