What Monet did to get rolling isn’t all that different from what he did later on. But it is already powerful and raw in a way his later, more contemplative images aren’t always.

the streaky strokes that build the water contrast sharply with the dabs he uses for reflections elsewhere

He did this image from memory obviously; otherwise he’d have no doubt drowned. And it’s powerful; you worry about the sailors and wonder about their fate.
He surely loved water and the artistic challenge it presented. Social status and labor were of far less interest than nature, but this was so for most of the Impressionist work.

The water ripples center on the raft and its well dressed population of “bathers.” This is just part of the painting.

Compare the “finished” work above with the sketch quality of the one below. He manages to depict a crowd of folk in the water with almost no delineation at all; and the water ripples have an amazing power.

Here is repose compared to the storm at sea and yet his ability to give character to his three figures on the quai demonstrates a love of specificity, as do those incredible ripples.

Copies don’t go justice but Monet’s painting, Boats at the Port of Honfleur, can give you chills. Just dabs of paint tossed onto the canvas, these reflections of boats and trees are only that; but their weight, coloration, proportion and placement render the rightside up world of what floats perfectly in its upside down world of reflection. It’s an amazing work and possesses, and exudes, a vitality that the great later works of waterlilies and the like do not (despite their rhapsodic beauty). it has to be seen in person. It is a perfect painting.
Then there’s dad. Dad didn’t approve of son becoming a painter. The placard says this is a calm, respectful portrait of dad in the park, with no hint of the familial tension. Nope. Look, if the reproduction allows, at dad’s posture. Stiff as a rifle, jaw jutting forward, left leg almost levitating as he “reads.” Monet captures a tight, strict figure of black and white that contrasts sharply with the painting of his wife that follows.

He’s not only tense but totally alone, Monet’s Moses with the commandments the son will disobey.

This “shot” of his wife on a cold day outside the house, passing the glass panelled door, imbues her with a melancholy look that may relate to the enforced poverty his not yet successful painting career and his lack of paternal support imposed. A look of sadness, fleeting, perhaps, and yet the room is large, the glass clear, the day bright and Monet pays homage to the woman who endures what must be endured with and because of the very work that honors her.

Note how little facial detail Monet needs to paint to capture her expression. He possesses an economy few achieve.

Some paintings capture another maturing style in the early work: smoother, softer, with less obvious traces of brush strokes and paint dabs. This painting, done, I believe, in the Netherlands, is representative and feels “nice” to me in a more familiar and comfortable way. Yet the reflections–those perfect gestural reflections–are there to remind us of the degree to which Monet’s early work possessed a rawness and perfection, a magic and defiance that slowly gained recognition and acclaim, enough to erase the poverty of these early years.

Compare this work to the boats at Honfleur; the tonality and gentleness here seems closer to Renoir than some his more dramatic early work