Claude Monet and the Theory of Your Case
This post has been viewed 3,081 times.
In 1874, Claude Monet exhibited a painting in Paris, an unconventional depiction of sunrise at Le Havre. “What shall we call it?” his brother asked. “Mettez ‘impression’“—call it an impression—Monet replied. Impressionism got its name.
Monet rented rooms across from the Rouen cathedral façade and painted it 30 times. Each painting, with different effects of light, shade, weather, and time of day, gives one a different impression. His paintings of the seashore direct us to consider particular people and to see them in particular ways.
Yet, Monet’s work is not “abstract” nor does it bend and reshape the real world that he depicts. Monet was a careful observer. The different impressions of the same scene are creatures of the same reality, which can be seen differently depending on circumstances. His paintings from this period, including notably his Gare St. Lazare series, make the material world come alive. “One can hear the roaring of the trains,” wrote Émile Zola.
We trial lawyers are impressionists, seeking to present a certain image of our case within a framework defined by the rules of evidence and procedure.
Look carefully at some of Monet’s paintings, having in mind what he was trying to say to you. He has considered every detail, every stone. He has considered light and shadow. The impression evokes a reaction because the artistry is honest and accurate.
Someday, go to the Musée Marmottan on the outskirts of Paris. Look at Monet’s personal collection of Japanese line drawings; he was impressed by that exacting form of depiction.
Our task, from when we first see the client, is to build an impression of the client and his or her cause. That impression will be present in every pleading, argument, witness, and exhibit.
Tags:
