When I was ordering my plant pots, I thought it is my favorite place to work. I wished I would create an innovative artwork about this scene.
Immediately, Monet’s Giverny garden came to my mind. It was gorgeous. Not only because had it offered a beautiful subject for his paintings also it was visually inspirational. It is a break-through, an innovation view.
Monet made The Water lilies in the last decade of the long life. Their power is not only of inspiration stroke but of an enduring passion, both for the artist’s subject and his vocation.
As a photographer, I have been interested in knowing the sight process and how we think that we watch. Even when Monet’s paintings are encountered one at a time, the artist’s environmental vision is apparent in their magnitude, and, more important, in their scale vis-à-vis an individual’s perception.
Surface and reflection could be questions for an artist who wants to capture a plant in the water. He focused tightly on the water surface. Monet succeeded in making paintings that convert the viewer’s role from observation to immersion. From the outset, the artist envisaged them as all-encompassing.
María José Gómez Redondo, "hands in the water" 2013
Claude Monet
Water Lilies, 1914–26
Oil on canvas, three panels, each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm); overall 6' 6 3/4" x 41' 10 3/8" (200 x 1,276 cm) The Museum of Modern Art, New York
If you want to know what is the legacy of Monet’s garden to the Modern painting you should read this article:
Ann Temkin and Nora Lawrence. Claude Monet: Water Lilies. The Museum of Modern Art, 2009.
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