“After Corot, Claude Monet is the artist who has made the most inventive and original contribution to landscape painting… Among our landscape painters [he] was the first to have the boldness to go as far as the Japanese in the use of colour… Let us now watch Claude Monet as he takes up his brush. To do so we must accompany him into the fields and face being burnt by the blazing sun, or we must stand with him knee-deep in snow — for despite the season he leaves his studio and works outdoors, under the open sky.” Théodore Duret, 1880
Of all Monet's works it is perhaps his effets de neige that most immediately and specifically evoke his known admiration for Japanese prints. It may be simply that certain aspects of Japanese Ukiyo-e woodcuts — their striking compositions, simplified contours, vivid colour, and the immediacy with which they suggest nature in every aspect of every season of the year — find no counterpart in Western painting before Monet. It may also be that the world described by the Japanese artists is the world of everyday life, not symbolic, anecdotal, or burdened with social or political commentary but simply observed. In these observations, no season, no time of day, no aspect of human experience or the natural world went unnoticed.