Question: How many times did Monet paint the subject?
About the article "Claude Monet", section "Impressionism".

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Jean Monet may refer to:  Jean Monet (Canadian writer), winner at the 1997 Arthur Ellis Awards  Jean Monet (son of Claude Monet), (1867-1913), a frequent subject of paintings by his father Claude Monet  
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. 
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. 
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. 
Women in the Garden (French: "Femmes au jardin") is an oil painting begun in 1866 by French artist Claude Monet when he was 26.
It is a large work painted "en plein air"; the size of the canvas necessitated Monet painting its upper half with the canvas lowered into a trench he had dug, so that he could maintain a single point of view for the entire work.
The setting is the garden of a property he was renting.
His companion Camille posed for the figures.
Monet finished the work indoors, and used magazine illustrations to render fashionable clothing.
Monet at this time was early in his career, experimenting with method and subject matter.
His earlier paintings were successful at Paris Salons, but "Women in the Garden" was rejected in 1867 on the grounds of subject and narrative weakness.
The Salon was also troubled by Monet's heavy brushstrokes, a style which would, of course, become one of the hallmarks of Impressionism.
A judge commented, "Too many young people think of nothing but continuing in this abominable direction.
It is high time to protect them and save art!"
The painting was purchased by fellow artist Frédéric Bazille to help support Monet at a time when he had no money.
Although the Musée d'Orsay, the painting's owner, comments that "Monet has skilfully rendered the white of the dresses, anchoring them firmly in the structure of the composition", Christoph Heinrich, author of a Monet biography, notes how posterity has found the painting lacking.
In this view, the figures appear poorly integrated into the scene, with the woman at right "gliding across the ground as if she had a trolley concealed beneath her dress".
The painting's treatment of light and shadow is lauded, however, and in this respect the work may have shown Monet where his artistic path lay.