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Monet's Living Gardens

by Jo Dunn

A great place to enjoy a late summer afternoon is only a bus ride away from Paris.

Claude Monet's gardens in Giverny attract hundreds of thousands of visitors every year. It is a favorite site for many American and Japanese tourists, but the gardens are also a place where young art students can spend time contemplating and sketching some of the views Monet made famous.

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Outside Monet's house and studios, the rectangular Clos Normand, with archways of climbing plants entwined around brilliantly coloured shrubs, is divided into flower beds. Fruit trees or ornamentals, climbing roses and hollyhocks are backgrounds for colorful banks of annuals. It is a flower lovers delight.  

Dahlias happen to be one of my favorites in the garden. During summer they are plentiful in a wide variety of sizes and colors. From the small marigolds to the very tall sunflowers there is something for everyone's taste.

And even a Sunday dabbler can pick up a pack of pastels and try their hand at capturing the magic of light and color that inspired Monet's brilliance.

In his Japanese Gardens, visitors can see the famous water lily ponds and the Japanese Bridge that are featured in his Water Lilies series. Monet had been a collector of Japanese engravings which might have been his inspiration to build the Japanese Gardens.

The gardens are open from spring through autumn. Picnics and pets are not allowed. Flower seeds with booklets are available along with souvenirs at the gift shop.

For more info on visits to the gardens at Giverny check out the official Monet site.

 


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 Photos © JoMarie Fecci


Claude Monet's Own Words

"...[this new direction in painting] was a rather dangerous novelty. No one had attempted it, not even Manet, who innovated only later, after me. His painting was still very conventional and I still remember the contemptuous way in which he spoke of my beginnings. It was in 1867, my style had began to stand out, but for all that, it was far from revolutionary. I was still a long way off from my adoption of the principle of the division of colours -- which turned so many people against me, but I was partially trying it out and would practice different effects of light and colour which contravened received ideas. The selection committee, which was all in my favour in the beginning, turned against me and when I presented my new painting to the 'Salon', I was shamefully rejected."


excerpts from Monet's article on himself, written for the newspaper "Le Temps," November 26, 1900.



   
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