The Unlikely Friendship Between a Painter and a Politician

What was the relationship between Impressionist artist Claude Monet and former French Prime Minister Georges Clemenceau?

Claude Monet was a master of colour and light whose luminous canvases transformed art. A founder of Impressionism, he became one of the world’s most famous and most lucrative artists. As a young political dissident, Georges Clemenceau published his own newspaper. Later, a politician himself, he formed his own government, twice reaching the post of Premier, and in the dark days of the World War 1, he was the unifying force that rallied France. Tireless and energetic, he was known as ‘Le Tigre‘.

Opposites attract

Monet and Clemenceau first encountered each other as young bohemians in 1860s Paris. From out of the Latin Quarter their youthful paths diverged, only to cross again 30 years later thanks to Clemenceau’s stellar newspaper review of Monet’s paintings. Their reunion led to a deep and unfailing friendship, which was, in many respects, unlikely. Monet’s only interests were painting and gardening, he had no knowledge of politics and never bothered to vote; Clemenceau was by nature an opinionated, political animal. Clemenceau was a sparkling conversationalist; Monet was a man of few words. Monet’s cantankerous personality caused Clemenceau to dub him a ‘frightful old hedgehog’. However, there were strong similarities between these two old beasts pride, stubbornness, a passion for art, horticulture and cars.

On his visits to Giverny, Clemenceau luxuriated in Monet’s hospitality, the delights of his dining table and his ever-abundant garden. Giverny was a sanctuary where he could discuss flowers instead of politics. Tempted by the promise of good local cuisine, Monet agreed to visit Clemenceau’s country house just once. “Eight small suns shall fade during your stay,” wrote Clemenceau, “but our friendship never will.” Monet’s eyesight was fast failing and the artist wanted to create something on a grand scale before he lost his vision. Inspired by his own paradise at Giverny, Monet imagined walls of water lilies fashioned into an endless, flowery aquarium. Throughout the war years, Monet painted what would become Les Nymphéas at his waterside easel.

Finishing touches

On November 12, 1918, the day after the Armistice was signed, Monet offered his project to the state, telling President Clemenceau, “… it’s not much, but it is the only way I have of taking part in the Victory… I admire you and embrace you with all my heart”. Clemenceau gladly accepted his donation, but Monet, plagued with self-doubt, set about reworking his panels; slashing and even destroying some. Encouraged by Clemenceau to complete the project. Monet persevered, painting his dreamy panels of infinite blues, greens and mauves before his sight left him altogether. At Clemenceau’s insistence, he agreed to a cataract operation in 1923. His prevarication put a great strain on their friendship, his finishing touches lasting almost a decade. Clemenceau was at his friend’s deathbed on December 5, 1926. “No black for Monet!” he admonished, replacing the funereal, black pall draped over the artist’s coffin with a coloured cloth. The canvases comprising Monet’s Nymphéas remained at Giverny until their installation at Musée de l’Orangerie in 1927.

From France Today Magazine