Question: When did Claude Monet pass away and what did he die of?
About the article "Claude Monet", section "Death".

Candidate passages:
She was the second daughter of Ernest Hoschedé and Alice Hoschedé.
Ernest was a business man, a department store magnate in Paris.
and an art collector of impressionist paintings.
In 1876, he commissioned Claude Monet to paint decorative panels in the round drawing room, in his residence, the "château de Rottembourg", in Montgeron.
In 1877 Ernest Hoschedé, went bankrupt and his art collection was auctioned off.
Ernest, Alice, and their 6 children moved into a house in Vétheuil with Monet, Monet's first wife Camille, and the couple's two sons, Jean and the infant Michel.
Ernest, however, spent most of his time in Paris, and eventually abandoned his family and went to Belgium.
During 1879 after the death of Camille Monet, Alice Hoschedé and the 2 Monet children lived together in Paris.
Eventually joining Monet in Vétheuil, and then moving with him to Poissy in 1881 and finally settling in Giverny in 1883.
The relationship between Claude Monet and Alice Hoschedé developed and became official although they remained unmarried.
After Ernest Hoschedé died in 1891 Claude Monet and Alice Hoschedé did marry in 1892.
Blanche became immediately fond of Claude Monet.
She was eleven when she discovered the art of painting.
Eventually she spent long hours in Claude Monet’s atelier and also in Édouard Manet’s.
In 1882 Claude Monet rented a summer house in Pourville, and Blanche started to paint next to him.
When Claude Monet created his series "Haystacks (1890–1891)" Blanche came completely under his influence.
Blanche became Monet's assistant and pupil.
She often carried Claude Monet’s easel, canvases on a wheel barrow, and then set up her own easel and painted nearby.
She used the same canvas, the same palette, and the same colors and the same subject.
Paul Durand-Ruel purchased a Haystack by Blanche Hoschedé Monet, and it currently is displayed in Claude Monet’s house in Giverny.
While in Italy, Claude Monet wrote a letter to Alice Hoschedé, “Is Blanche still painting and am I going to find her in progress?” Her work was done en plein air as she did not have an atelier.
Claude Monet in January 1888 while in Antibes, encouraged Blanche to submit a work to the Salon.
The Hoschedé-Monet family shared a lot of time with the "American Expatriates".
Blanche also painted alongside John Leslie Breck (1860–1899), and Theodore Earl Butler.
She had a romance with John Leslie Breck which was stopped by Claude Monet.
Consequently, John Leslie Breck left Giverny in 1892 after Theodore Earl Butler’s marriage to Blanche’s sister, Suzanne Hoschedé; a marriage approved by Claude Monet.
Finally, Blanche married Claude Monet’s eldest son, Jean Monet, in 1897.
They lived in Rouen and Beaumont-le-Roger until 1913.
She painted landscapes such as meadows along the Risle’s river and Poplars and Pines.
Upon her husband’s death in 1913 she moved back to Giverny with Claude Monet in 1914.
She went to Clemenceau’s House in the southern part of France in Saint- Vincent-du-Jar with Claude Monet for one week in October 1921.
She returned in 1927, 1928 and 1929 and did some paintings of the he was called by the prime minister of France, Georges Clemenceau, "The Blue Angel", as she spent her time taking care of Claude Monet until his last days.
Janine Burke believes that Blanche may have assisted Monet in the painting of "Grand Decorations".
Monet had trained and encouraged Blanche as an artist.
In a chapter on Blanche and Monet in "Source: Nature's Healing Role in Art and Writing" (2009), Burke comments, "Given the sheer scale of the surfaces to be covered in the Grand Decorations, it is logical to consider Monet had an assistant, and who better than Blanche?"
Most of her works were done in Giverny and around Rouen.
She painted in Giverny from 1883 to 1897 and then from 1926 to 1947.
She eventually decided to have a solo show at Bernheim Jeune, in 1931.
She adopted an almost pure form of impressionism.
She painted for her own pleasure.
It is difficult to distinguish her work from Monet’s especially during her first period in Giverny.
The palette, brushes, paint and canvases came from Claude Monet.
She then painted Claude Monet’s garden, and its surroundings.
A street in Giverny bears her name. 
Sean flat out refuses, but Emma knocks him out with a psi-bolt and proceeds with the deal.
In L.A., Monet notices Chamber being purposely distant to Husk (because he suspects Skin and Husk are growing closer) and advises him to correct his mistake, which Chamber does.
Monet also notices Synch having regrets, as there are many things he may never do if they die in the coming battle.
He asks for permission to kiss Monet, and she agrees on the condition that it "doesn't count if we don't die", and kisses him first, leaving him stunned.
Back in Miami, Sean wakes up in time to punch Emma and calls for Penance, who instantly frees herself from Emplate's grasp, giving Sean a clear shot with his sonic scream.
Though Emma desperately claims she wouldn't have really gone through with the deal, Sean does not believe her, tells her to stay away from the kids and the school, and leaves with Penance.
During the battle against the Prime Sentinels in L.A., Tores briefly displays the mutant ability to harness psychic energy and direct it as a weapon.
Generation X launches an ambush, but is quickly overwhelmed.
Synch and Monet are wounded, and she urges him to synch with her invulnerability so he can survive the next wave of attacks, which he has never done before.
As he does so, Synch glimpses Monet's true nature, calling her "M&M" just before the attack.
As planned, Gil then sets off a huge explosion to destroy the hideout and the Sentinels.
Synch emerges from the rubble first, using his aura to locate Monet.
Instead he finds Nicole and Claudette, each in a coma and separated for the first time since joining the team as Monet.
However, the secret of where the real Monet was would remain a mystery to the team.
Soon after Emplate returned to terrorize the young mutants, the twins merged with Emplate, creating a new persona, called "M-Plate".
When the three of them separated, the twins finally learned what their brother did to the real Monet St. Croix.
Everett managed to convince Nicole to finally reveal the truth to the rest of the team.
Immediately after Nicole's story, the twins formed back into "M" and then merged with Penance, freeing Monet in the process.
Returning to normal, the traumatized M became self-reliant and outwardly harsh and defensive to make up for her fear and insecurity, causing her to clash with many of her Generation X teammates.
The only person she allowed to see her vulnerabilities was Everett Thomas, with whom she started a brief romantic relationship.
A rivalry soon started with her teammate Jubilee, which only intensified after Monet and Everett became an item.
When Emplate returned during the school dance, Jubilee caused an explosion, which, once again, separated the twins from each other, and left the Penance body to become its own being.
Upon hearing the return of the twins, Cartier St. Croix decided to visit his three daughters.
Coming face to face with his severely injured son Marius.
After Cartier apologized to his son, Marius revealed that he was the one responsible for the death of his mother, further infuriating Monet.
Monet was then transferred to an exclusive boarding school in the Swiss Alps.
The school was burned down durin a battle with its headmaster (a vampire) and M chose to return to the Massachusetts Academy. 
In 1884 Robinson returned to France where he lived for the next eight years, visiting America only occasionally.
Robinson gravitated to Giverny, which had become a center of French impressionist art under the influence of Claude Monet.
Historians are unclear when Robinson met Monet, but by 1888 their friendship was enough for Robinson to move in next door to the famous impressionist.
Robinson's art shifted to a more traditional impressionistic manner during this time, likely due to Monet's influence.
While a number of American artists had gathered at Giverny, none were as close to Monet as Robinson.
Monet offered advice to Robinson, and he likewise solicited Robinson for opinions on Monet's own works in progress.
Not only did he take to heart Monet´s theoretical admonitions and his requirement to portray the beauties and mystery of nature in a manner stringently truthful to one's personal vision, but he also studied works that were available to him in "The Master´s" studio.
For instance, "Capri", painted in 1890, was probably inspired by Monet´s paintings of the cliffs at Varengeville, Pourville, and Etretat and the rocks at Bell-Ile of the early 1880s.
At Giverny, Robinson painted what art historians regard as some of his finest works.
These depicted the surrounding countryside in different weather, in the plein air tradition, sometimes with women shown in leisurely poses.
An example of his mature work during this period is "La Débâcle" (1892) in the collection of Scripps College, Claremont California. 
In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art.
The Académie was the preserver of traditional French painting standards of content and style.
Historical subjects, religious themes, and portraits were valued (landscape and still life were not), and the Académie preferred carefully finished images that looked realistic when examined closely.
Colour was somber and conservative, and traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniques.
The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige.
The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel.
Some younger artists painted in a lighter and brighter manner than painters of the preceding generation, extending further the Realism of Gustave Courbet and the Barbizon school.
They were more interested in painting landscape and contemporary life than in recreating historical or mythological scenes.
Each year, the Salon jury rejected their works in favour of works by artists faithful to the approved style.
A group of young realists, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille, who had studied under Charles Gleyre, became friends and often painted together.
They gathered at the Café Guerbois, where the discussions were often led by Édouard Manet, whom the younger artists greatly admired.
They were soon joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.
In 1863, the jury rejected Manet's "The Luncheon on the Grass" "(Le déjeuner sur l'herbe)" primarily because it depicted a nude woman with two clothed men at a picnic.
While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting.
The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.
After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized.
While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon.
Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied.
During the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the "Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs" ("Cooperative and Anonymous Association of Painters, Sculptors, and Engravers") to exhibit their artworks independently.
Members of the association, which soon included Cézanne, Berthe Morisot, and Edgar Degas, were expected to forswear participation in the Salon.
The organizers invited a number of other progressive artists to join them in their inaugural exhibition, including the older Eugène Boudin, whose example had first persuaded Monet to adopt "plein air" painting years before.
Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Édouard Manet.
In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar.
The critical response was mixed.
Monet and Cézanne received the harshest attacks.
Critic and humorist Louis Leroy wrote a scathing review in the newspaper "Le Charivari" in which, making wordplay with the title of Claude Monet's "Impression, Sunrise" "(Impression, soleil levant)", he gave the artists the name by which they became known.
Derisively titling his article "", Leroy declared that Monet's painting was at most, a sketch, and could hardly be termed a finished work.
He wrote, in the form of a dialog between viewers, "Impression—I was certain of it.
I was just telling myself that, since I was impressed, there had to be some impression in it ... and what freedom, what ease of workmanship!
Wallpaper in its embryonic state is more finished than that seascape."
The term "impressionists" quickly gained favour with the public.
It was also accepted by the artists themselves, even though they were a diverse group in style and temperament, unified primarily by their spirit of independence and rebellion.
They exhibited together—albeit with shifting membership—eight times between 1874 and 1886.
Monet, Sisley, Morisot, and Pissarro may be considered the "purest" Impressionists, in their consistent pursuit of an art of spontaneity, sunlight, and colour.
Degas rejected much of this, as he believed in the primacy of drawing over colour and belittled the practice of painting outdoors.
Renoir turned away from Impressionism for a time during the 1880s, and never entirely regained his commitment to its ideas.
Édouard Manet, although regarded by the Impressionists as their leader, never abandoned his liberal use of black as a colour, and never participated in the Impressionist exhibitions.
He continued to submit his works to the Salon, where his painting "Spanish Singer" had won a 2nd class medal in 1861, and he urged the others to do likewise, arguing that "the Salon is the real field of battle" where a reputation could be made.
Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cézanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions so they could submit their works to the Salon.
Disagreements arose from issues such as Guillaumin's membership in the group, championed by Pissarro and Cézanne against opposition from Monet and Degas, who thought him unworthy.
Degas invited Mary Cassatt to display her work in the 1879 exhibition, but he also caused dissension by insisting on the inclusion of Jean-François Raffaëlli, Ludovic Lepic, and other realists who did not represent Impressionist practices, causing Monet in 1880 to accuse the Impressionists of "opening doors to first-come daubers".
The group divided over invitations to Paul Signac and Georges Seurat to exhibit with them in 1886.
Pissarro was the only artist to show at all eight Impressionist exhibitions.
The individual artists achieved few financial rewards from the Impressionist exhibitions, but their art gradually won a degree of public acceptance and support.
Their dealer, Durand-Ruel, played a major role in this as he kept their work before the public and arranged shows for them in London and New York.
Although Sisley died in poverty in 1899, Renoir had a great Salon success in 1879.
Monet became secure financially during the early 1880s and so did Pissarro by the early 1890s.
By this time the methods of Impressionist painting, in a diluted form, had become commonplace in Salon art. 
It was from Eugène Boudin that Monet learned to paint out in the open air.
It is because of this that Monet had a type of revelation.
"It was as if a veil had been suddenly rent; I had understood, I had grasped all that there was in painting."
Monet had many influences; whether he denies it or not all the teachers, in some way or another, shaped Monet.
Monet was influenced by Charles-François Daubigny, though he later denied it, probably because Daubigny used somber tones, which Monet discarded.
While in Paris, Monet became a student in the studio of Constant Troyon, who in his day was a best seller but is almost entirely forgotten now.
Monet, as he did with Daubigny, refused to be influenced by Troyon.
It was Daubigny, however, who prepared Monet for his “real” teacher, Corot.
Monet never actually worked with Corot but Camille Pissarro, a student he befriended, had known Corot and received his advice, and had learned to paint in his ways.
Pissarro "communicated his admiration to Monet, and all the more easily since Corot could in part give Monet what he was searching for: a style fitted to express the freshness and brightness of the open-air world."
Corot, a brilliant landscape painter, discarded somber tones from his palette, and lightened his landscapes.
It is clear why Monet looked back to Corot.
The two painters were very similar in color use, working in the open-air and promoting landscape portraiture.
The influence of Dutch artist Johan Jongkind, who Monet worked with for six months, and several Japanese print masters, most notably Hokusai and Hiroshige, can be seen in "The Cliff Walk at Pourville".
Jongkind worked in open-air with a focus on seascapes.
"The Cliff Walk at Pourville" is a landscape piece featuring two women who appear to be ravished by an almost visible wind and emphasizes the vast greatness of the cliff side and the sea.
The bright and airy colors can be contributed to the Japanese prints that Monet encountered through Hokusai and Hiroshige.