Question: Which of Monet's subject was painted first?
About the article "Claude Monet", section "Impressionism".

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When Monet painted the Rouen Cathedral series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year, and as atmospheric conditions change.
For Monet, the effects of light on a subject became as important as the subject itself.
His "Series Paintings", in which he painted many views of the same subject under different lighting conditions, are an attempt to illustrate the importance of light in our perception of a subject at a given time and place.
Robert Pelfrey, in "Art and Mass Media" (Kendall/Hunt, 1996), says: :By focusing on the same subject through a whole series of paintings, Monet was able to concentrate on recording visual sensations themselves.
The subjects did not change, but the visual sensations – due to changing conditions of light – changed constantly.
(166) The cathedral series was not Monet's first series of paintings of a single subject, but it was his most exhaustive.
The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes.
The cathedral allowed him to highlight the paradox between a seemingly permanent, solid structure and the ever-changing light which constantly plays with our perception of it.
There were calls for the state to buy the entire series and exhibit them as a whole, but unfortunately these calls were not heeded and the series was divided. 
In this painting entitled "Springtime", Claude Monet uses his first wife, Camille Doncieux, as the model.
Camille and Claude Monet were married in 1870, before this time she had been his mistress and served as a model for Monet's figurative paintings of the 1860s and 1870s.
It is said that Camille possessed unusual talent as a model and was also used by Auguste Renoir and Édouard Manet.
Late in the year 1871, Monet and his family settled in Argenteuil, a village Northwest of Paris.
The village was a popular resort for urban pleasure-seekers.
Colleagues of Monet frequently joined him and the village became associated with Impressionism.
In the spring of 1872, Monet painted a number of canvases in his garden, often showing Camille and Alfred Sisley's companion, Adelaide-Eugenie Lescouezec.
"Springtime" was on display at an exhibition organized by the Impressionists at Durand Ruel's Paris Gallery, from March 30 to April 30, 1876.
Monet exhibited 18 works, for which 6 of these works Camille had posed.
During this exhibition, "Springtime" was given the more generic title of "Woman Reading".
Monet's second wife, Alice Hoschedé, ordered the complete destruction of pictures and mementos from Camille's life with Monet, therefore, Camille's image almost solely survives on the basis of Monet's paintings. 
Water Lilies (or Nymphéas, ) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926).
The paintings depict Monet's flower garden at Giverny and were the main focus of Monet's artistic production during the last thirty years of his life.
Many of the works were painted while Monet suffered from cataracts.
The paintings are on display at museums all over the world, including the Musée Marmottan Monet and the musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, the Saint Louis Art Museum, the Nelson-Atkins Museum of Art in Kansas City, Missouri, the Carnegie Museum of Art, the National Museum of Wales, the Musée des Beaux-Arts de Nantes, the Cleveland Museum of Art, the Portland Art Museum and the Legion of Honor.
During the 1920s, the state of France built a pair of oval rooms at the Musée de l'Orangerie as a permanent home for eight water lily murals by Monet.
The exhibit opened to the public on 16 May 1927, a few months after Monet's death.
Sixty water lily paintings from around the world were assembled for a special exhibition at the Musée de l'Orangerie in 1999.
On 19 June 2007, one of Monet's water lily paintings sold for £18.5 million at a Sotheby's auction in London.
On 24 June 2008 another of Monet's water lily paintings, "Le bassin aux nymphéas", sold for almost £41 million at Christie's in London, almost double the estimate of £18 to £24 million.
Monet's career long serial motif of producing and exhibiting a series of paintings related by subject and perspective began in 1889, with at least ten paintings done at the "Valley of the Creuse", which were shown at the Galerie Georges Petit.
Among his other famous series are his "Haystacks".
In May 2010, it was announced that the 1906 Nymphéas work would be auctioned in London in June 2010, the painting had an estimated sale price of between £30 and £40 million.
Giovanna Bertazzoni, Christie's auction house director and head of impressionist and modern art, said "Claude Monet's water-lily paintings are amongst the most recognised and celebrated works of the 20th Century and were hugely influential to many of the following generations of artists".
The sale took place on 23 June 2010 at the auction house and the painting attracted bids of up to £29 million, but it ultimately failed to sell. 
The Magpie () is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy.
Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
Between 1867 and 1893, Monet and fellow Impressionists Alfred Sisley and Camille Pissarro painted hundreds of landscapes illustrating the natural effect of snow ("effet de neige").
Similar winter paintings of lesser quantity were produced by Pierre-Auguste Renoir, Gustave Caillebotte, and Paul Gauguin.
Art historians believe that a series of severe winters in France contributed to an increase in the number of winter landscapes produced by Impressionists.
"The Magpie" is one of approximately 140 snowscapes produced by Monet.
His first snowscape, "A Cart on the Snowy Road at Honfleur", was painted sometime in either 1865 or 1867, followed by a notable series of snowscapes in the same year, beginning with the "Road by Saint-Simeon Farm in Winter".
"The Magpie" was completed in 1869 and is Monet's largest winter painting.
It was followed by "The Red Cape" (1869–1871), the only known winter painting featuring Camille Doncieux.
The canvas of "The Magpie" depicts a solitary black magpie perched on a gate formed in a wattle fence, as the light of the sun shines upon freshly fallen snow creating blue shadows.
The painting features one of the first examples of Monet's use of colored shadows, which would later become associated with the Impressionist movement.
Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black.
This subjective theory of color perception was introduced to the art world through the works of Johann Wolfgang von Goethe and Michel Eugène Chevreul earlier in the century.
At the time, Monet's innovative use of light and color led to its rejection by the Paris Salon of 1869.
Today, art historians classify "The Magpie" as one of Monet's best snowscape paintings.
The painting was privately held until the Musée d'Orsay acquired it in 1984; it is considered one of the most popular paintings in their permanent collection. 
Monet has been described as "the driving force behind Impressionism".
Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other.
Monet's long career as a painter was spent in the pursuit of this aim.
In 1856, his chance meeting with Eugene Boudin, a painter of small beach scenes, opened his eyes to the possibility of plein-air painting.
From that time, with a short interruption for military service, he dedicated himself to searching for new and improved methods of painterly expression.
To this end, as a young man, he visited the Paris Salon and familiarised himself with the works of older painters, and made friends with other young artists.
The five years that he spent at Argenteuil, spending much time on the River Seine in a little floating studio, were formative in his study of the effects of light and reflections.
He began to think in terms of colours and shapes rather than scenes and objects.
He used bright colours in dabs and dashes and squiggles of paint.
Having rejected the academic teachings of Gleyre's studio, he freed himself from theory, saying "I like to paint as a bird sings.
"In 1877 a series of paintings at St-Lazare Station had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent.
He was to further use this study in the painting of the effects of mist and rain on the landscape.
The study of the effects of atmosphere were to evolve into a number of series of paintings in which Monet repeatedly painted the same subject in different lights, at different hours of the day, and through the changes of weather and season.
This process began in the 1880s and continued until the end of his life in 1926.
His first series exhibited as such was of Haystacks, painted from different points of view and at different times of the day.
Fifteen of the paintings were exhibited at the Galerie Durand-Ruel in 1891.
In 1892 he produced what is probably his best-known series, twenty-six views of "Rouen Cathedral".
In these paintings Monet broke with painterly traditions by cropping the subject so that only a portion of the facade is seen on the canvas.
The paintings do not focus on the grand Medieval building, but on the play of light and shade across its surface, transforming the solid masonry.
Other series include "Poplars," "Mornings on the Seine," and the "Water Lilies" that were painted on his property at Giverny.
Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Venice.
In London he painted four series: "the Houses of Parliament, London," "Charing Cross Bridge," "Waterloo Bridge", and "Views of Westminster Bridge".
Helen Gardner writes: