ALS in French, three pages on two adjoining sheets, 5 x 8, Giverny par Vernon letterhead, November 13, 1916. Letter to art critic Gustave Geffroy, one of the earliest historians of the Impressionist art movement and a loyal champion of Monet. In full (translated): "Clemenceau has just left full of enthusiasm for what I do. I told him how happy I was to have your advice about this tremendous work which to be honest is madness. Briefly, it is agreed he will take you by car to lunch and will return eagerly. He will get on well with you. I hope under these conditions that you will not make me wait too long for your arrival. You know how much pleasure your visit will give and at the same time how happy I am to have advice on my work." He adds a postscript, "P.S. Tomorrow, I enter my 77th year." In fine condition. Accompanied by the original mailing envelope, addressed in Monet's hand.
Monet and Georges Clemenceau first met in 1860, lost touch, and rekindled their friendship in 1908 when Clemenceau bought a property in Bernouville near Monet's Giverny gardens. During this period, World War I weighed heavily on Monet's mind, as his son Michel served in the French Army. Monet's 'Weeping Willow' paintings were an homage to the fallen French soldiers of the war, and on November 12, 1918, the day after the Armistice, he wrote to Clemenceau: 'I am on the verge of finishing two decorative panels which I want to sign on Victory day, and am writing to ask you if they could be offered to the State with you acting as intermediary.' These panels consisted of his 'Water Lilies' compositions, which he continuously reworked until his death. With Clemenceau's aid they were bequeathed to the Musee de l'Orangerie, where they remain exhibited to this day.
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