In this works, Monet used a limited palette consisting of only nine colors including Lead White, Chrome Yellow, Cadmium Yellow, Viridian Green, Emerald Green, French Ultramarine, Cobalt Blue, Madder Red, and Vermillion. At the end of 18th century, Monet did a study on haystacks, with changing variables of season and time of day. Monet’s technique and his attention to color theory is seen throughout his works, but I find it most prominent in his Haystacks collection. Subjectivity takes a backseat as color becomes the strength behind the piece. Merely think here is a little square of blue, here a oblong of pink, here a streak of yellow, and paint it just as it looks to you…” This idea of relying on colors rather than subjects reflects the gradual move from Impressionism to Post-Impressionism.

Monet is noted for saying “when you go out to paint, try to forget what objects you have before you, a tree, a house, a field or whatever. He painted in color spots and trusted his eyes for the colors that would appear. His style of paint application served to brighten his colors, focusing on the colors over the subject matter. He would use complex mixtures of blues, greens, reds, and yellows to create shadows and dark colors, instead of using blacks or browns.

When the new pigments were developed at the end of the 18th century, Monet was one of the first to utilize them. Monet also compliments these color changes with new brushstroke techniques that accentuated the effects of color opposites. In his works, we see colors replacing chiaroscuro and soon colors becoming the entire structure of a work. One of the main supporters of Goethe and experimentation of color was Claude Monet. The traditional use of color was replaced by works that appeared bright and luminous, incorporating color opposites to create a whole new dramatization of light and shadow. Exploring the values and effects of color became central to Impressionism because it provided a new, unique experience for the viewer.

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