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During the 1860s he was associated with the preimpressionist painter Édouard Manet, and with other aspiring French painters destined to form the impressionist school with Camille Pissarro, Pierre Auguste Renoir, and Alfred Sisley.
Working out-of-doors, Monet painted simple landscapes and scenes of contemporary middle-class society, and he began to have some success at official exhibitions. As his style developed, however, Monet violated one traditional artistic convention after another in the interest of direct artistic expression. His experiments in rendering outdoor sunlight with a direct, sketchlike application of
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bright color became more and more daring, and he seemed to cut himself off from the possibility of a successful career as a conventional painter supported by the art establishment.
In 1874 Monet and his colleagues decided to appeal directly to the public by organizing their own exhibition. They called themselves independents, but the press soon derisively labeled them impressionists because their work seemed sketchy and unfinished (like a first impression) and because one of Monet's paintings had borne the title Impression: Sunrise (1872, Musée Marmottan, Paris) Monet's compositions from this time are
See MONET, page 12
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Monet was born on Nov. 14, 1840, in Paris, but he spent most of his childhood in Le Havre. There, in his teens, he studied drawing; he also painted seascapes out-of-doors with the French painter Eugène Louis Boudin. By 1859 Monet had committed himself to a career as an artist and began to spend as much time in Paris as possible.
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Primarily known as a novelist and a poet, D.H. Lawrence's early work also included drama. The complete plays of D.H. Lawrence are The Widowing of Mrs. Holroyd, David, The Married Man, The Daughter-in-Law, The Fight for Barbara, Touch and Go, The Merry-go-Round, A Collier's Friday Night, Altitude, and Noah's flood. The Widowing of Mrs. Holroyd (1914), Touch and Go (1920), and David (1926) were the only three plays published before his death. Lawrence's interest in drama was sparked in his youth by the performances of Sarah Bernhardt, the popular French actress of the day, who performed in such dramas as La Dame aux Camelias on the London stage.
Lawrence's early life in the mining village of Eastwood was the subject for most of his plays. As the son of a Nottingham coal miner (John Arthur Lawrence) and a middle-class church-goer, (Lydia Beard
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sall Lawrence) the dialogues of his family's conflicts and political contentions are reiterated for his audience in A Collier's Friday Night and Touch and Go as sharply as they were experienced. The rough dialogue his characters hurl toward one another symbolizes the jagged edges of Lawrence's internalized debate. The presentation of such colloquies throughout his dramas, galvanizes the parental struggles for control of his childhood household, the social responsibility of the privileged classes, the destiny of the working classes, and the pervasiveness of Victorian morality. The lyrical tincture which is the hallmark of Lawrence's novels and poems, is absent from his plays, making the obsessive themes of Lawrence's work less palatable to his audience. In Lawrence's own words, from a letter written to Max Mohr in 1928, Lawrence states "The novel differs
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fundamentally from the drama. Then novel is concerned with the human beings, and the drama is concerned with events. A drama is what happens, and a novel is what is."
(from The Complete Plays of D.H. Lawrence)
See GO, page 13
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