Being created in 1872, two years before the first exhibition of Impressionism, Impression: Sunrise (originally: Impression, soleil levant, Museum Mormottan Monet, Paris) could be truly regarded as a landmark in Claude-Oscar Monets own biography. Long before his Jiverny period, which was started in 1883, seascape belongs to his Argenteuil period (from December 1871 to 1878). Being influenced --- in terms of their colours --- by John Constable and Joseph Mallord William Turner in time of his London visit, (because of French-Prussian War, 1870-1871) painter refused to depict Havres harbour as it typically was used to, trying to represent not its real image, but first of all an impression of sun in the mist and a few masts of boats sticking up in the foreground as they seemed to be for him personally. (Tucker, 1995) Hence, one art critic, Louis Leroy, was so distressed by its refusal to follow French academic traditions in painting, 1874, that compared it with wallpapers. (Tucker, 1989) But, future Impressionists, --- many of whom Claude-Oscar had known before from Charles Glyeres studio in Paris, --- accepted this irritating word as an overall name for the whole movement.
It is particularly good, because it is legendary, atmospheric, and clear. After its production, natural light and air became new conditions of creating images here and now as painters of non-academic generation perceived objects --- always personally, but not typically. It is legendary, because it gave a name to the whole movement of Impressionism, and also because of its powerful effect on Monets biography within his Argenteuils period. Then, atmospheric --- because it depicts a moment within a day, when rising sun seems to be extremely red in a cover of pale mist; therefore, it can be suggested this image works not with real object of standard world of an intellectual knowledge,