The fourth issue of the collection represents the work of the outstanding French landscape painter, representative and one of the founders of impressionism, Claude Monet (1840-1926). The very name of the painting movement “Impressionism” comes from the title of Monet’s painting “Impression. Sunrise" (1872) (impression). For Monet it was important not just to capture a landscape, an everyday scene, but to convey the freshness of the direct impression of contemplating nature, where every moment something happens, where the color of objects continuously changes depending on the lighting , from the state of the atmosphere, weather, from proximity to other objects. In order to convey the light-air environment in this way, it was necessary not only to go out into nature, but also to see objects in a new way, abandoning the rules that were taught when working in workshops, and completely trusting one’s vision. “Forgetting” such a fundamental principle of academic painting as a gradual transition from light to shadow, Monet composes both the figures and the landscape from generalized spots of light, the shades and color of which depend only on the lighting; there are no clear contours of objects: they are, as it were, blurred by light air movement . The feeling of air movement is enhanced by the very texture of the painting: it ceases to be smooth, but consists of individual relief spots-strokes, conveying the trembling of foliage, the flickering of sun glare on the water, the shadows of clouds sliding across the sky. In the works of the early period of Monet’s creativity, attention is drawn to the integrity of the artist’s perception of the momentary events taking place around him. Looking at them, the viewer gets the impression of being personally present at this never-ending celebration of life, filled with sun, light, and the hubbub of an elegant crowd (“Splash Pool”, “Lilacs in the Sun”, “Boulevard of the Capuchins”). In 1877, the artist created a series of paintings about the Saint-Lazare train station, which outlined a new stage in his work: a departure from the holistic concept of a sketch painting towards an analytical approach to what is depicted. He begins to treat color differently, the subjects of his paintings change. Now the artist’s main attention is focused on the expressiveness of the color scheme of the stroke in isolation from its subject correlation, the desire for decorativeness intensifies, which ultimately resulted in the creation of panel paintings. The simple subjects of the paintings of the 1860-1870s give way to more complex ones. Monet is attracted to serial works: compositions “Haystacks”, images of Rouen Cathedral, views of London. In them, following the impressionistic manner, the artist strives to convey different degrees of illumination of the same objects in different weather, at different times of the day, using a variety of tones of his palette. At the same time, series of paintings make it possible to create amazing decorative compositions, as if developing in time and space thanks to the associative connections that arise.