The difficulties of painting outdoors dominate Claude Monet's personal letter to his friend and art dealer Gustave Geffroy. Monet describes his difficulties of painting in bad weather and expresses disappointment in himself despite Geffroy's trus. Monet writes that he fears, "all my efforts will come to nothing...." He complains of bad luck with weather, "never three days of good weather in a row, so that I am forced to make changes continually because everything grows and turns green. I wanted so much to paint the Creuse as we had seen it...I have become a part of nature and yet I cannot capture it...I want to do things right and that it's getting to be harder and harder, and what with this river which one day is high and the next day law, one day green and the next day yellow, dry today but probably a torrent tomorrow, and the awful ran pouring down right now...if the weather does not improve, I may just drop everything and go home; if it gets better, I will stay another 12 days...." He asks Geffroy to comfort him by writing because, "Rollinat can't be of any help. Whatever my concerns, his are greater...He can only grasp the odd aspect of my art... he is totally immersed in his work, he never goes out...." Monet asks Geffroy if he wrote to the painter Mirbeau about opening "June 15." Monet signs in full on the bottom of the fourth page, "Claude Monet." He begins his letter in reverse order of the bifolium page starting on page 4 Condition: Evenly sunned, with breaks at top and bottom of horizontal fold.
Monet's twenty-four paintings of the Creuse River valley in central France began in March 1889, after he and Geffroy visited the region earlier in February. Between March and May, Monet painted the landscape where the Petite and Grande Creuse rivers met, staying in the village of Fresselines where he penned this letter to Geffroy. Monet refers to French poet and musician Maurice Rollinat (1846- 1903) who lived in the area and to Octave Mirbeau (1848- 1917) French art critic and champion of Impressionism and other new art forms. The leltter was published in "Letters of Great Artists," Random House (January 1, 1963) and is now in public domain.