Editing Claude Monet (section)

===Giverny===
[[File:Claude Monet's Gardens.jpg|thumb|Monet's [[water garden]], 2019]]
In 1883, Monet and his family rented [[Fondation Monet in Giverny|a house and gardens]] in [[Giverny]], which provided him with domestic stability he had not yet enjoyed.<ref name=":11" /> The house was situated near the main road between the towns of [[Vernon, Eure|Vernon]] and Gasny at Giverny. There was a barn that doubled as a painting studio, orchards and a small garden. The house was close enough to the local schools for the children to attend, and the surrounding landscape provided numerous natural areas for Monet to paint.<ref>{{Cite book |last=Goetz |first=Adrien |url=https://www.worldcat.org/oclc/920833948 |title=Monet at Giverny |date=2015 |others=Claude Monet, Éric Sander |isbn=978-2-35340-217-5 |location=Montreuil |oclc=920833948}}</ref><ref>{{Cite book |last=Je Bradley |first=Alexander |title=The Gardens and House of Claude Monet |publisher=Blurb, Incorporated |date=6 October 2016 |isbn=9781367106147 |location=United States |language=English}}</ref><ref>{{Cite book |last=Monet |first=Claude |url=https://www.worldcat.org/oclc/56966754 |title=Monet's garden |date=2004 |publisher=Hatje Cantz |others=Christoph Becker, Kunsthaus Zürich |isbn=3-7757-1439-1 |edition=[English ed.] |location=Ostfildern-Ruit, Germany |oclc=56966754}}</ref>

The family worked and built up the gardens, and Monet's fortunes began to change for the better as Durand-Ruel had increasing success in selling his paintings.<ref>Mathews Gedo, Mary. ''Monet and His Muse: Camille Monet in the Artist's Life''. University of Chicago Press, 2010. {{ISBN|978-0-226-28480-4}}</ref> The gardens were Monet's greatest source of inspiration for 40 years.<ref name=":3">{{Cite book|last=Wildenstein|first=Daniel|title=Monet's Years at Giverny: Beyond Impressionism|publisher=[[Abrams Books]]|year=1978|isbn=9780810913363}}</ref>{{Sfn|Bailey|Rishel|Rosenthal|1989|pp=57}} In 1890, Monet purchased the house.{{Sfn|Januszczak|1985|p=258}} During the 1890s, Monet built a greenhouse and a second studio, a spacious building well lit with skylights.

Monet wrote daily instructions to his gardener, precise designs and layouts for plantings, and invoices for his floral purchases and his collection of botany books. As Monet's wealth grew, his garden evolved. He remained its architect, even after he hired seven gardeners.<ref>{{cite news|url=http://www.boston.com/travel/getaways/europe/articles/2007/05/20/monets_gardens_a_draw_to_giverny_and_to_his_art/|title=Monet's gardens a draw to Giverny and to his art|publisher=Globe Correspondents|date=20 May 2007|access-date=13 October 2008|first=Robert|last=Garrett|archive-date=2 February 2009|archive-url=https://web.archive.org/web/20090202200104/http://www.boston.com/travel/getaways/europe/articles/2007/05/20/monets_gardens_a_draw_to_giverny_and_to_his_art/|url-status=live}}</ref> Monet purchased additional land with a water meadow.<ref name=":4" /> White water lilies local to France were planted along with imported cultivars from South America and Egypt, resulting in a range of colours including yellow, blue and white lilies that turned pink with age.<ref name=AGV>Art Gallery of Victoria, [http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/monets-garden/explore/themes/waterlilies-symbol-of-the-orient-and-modern-science Monet's Garden] {{webarchive|url=https://web.archive.org/web/20131216191410/http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/monets-garden/explore/themes/waterlilies-symbol-of-the-orient-and-modern-science |date=16 December 2013 }}, (retrieved 16 December 2013)</ref> In 1902, he increased the size of his [[water garden]] by nearly 4000 square metres; the pond was enlarged in 1901 and 1910 with [[easel]]s installed all around to allow different perspectives to be captured.<ref name=":11" />{{Sfn|Bailey|Rishel|Rosenthal|1989|pp=57}}

Dissatisfied with the limitations of Impressionism, Monet began to work on series of paintings displaying single subjects—haystacks, [[Populus|poplars]] and the [[Rouen Cathedral]]—to resolve his frustration.<ref name=":63" />{{Sfn|Bailey|Rishel|Rosenthal|1989|pp=54}} These series of paintings provided widespread critical and financial success; in 1898, 61 paintings were exhibited at the Petit Gallery.{{Sfn|Januszczak|1985|p=270, 306}} He also began a series of ''Mornings on the Seine'', which portrayed the dawn hours of the river.''<ref name=":11" />'' In 1887 and 1889 he displayed a series of paintings of Belle Île to rave reviews by critics.<ref name=":15">{{Cite journal|last=Athanassoglou-Kallmyer|first=Nina|date=3 July 2015|title=Le Grand Tout: Monet on Belle-Île and the Impulse toward Unity|url=https://www.tandfonline.com/doi/abs/10.1080/00043079.2015.1023158|journal=The Art Bulletin|volume=97|issue=3|pages=323–341|doi=10.1080/00043079.2015.1023158|s2cid=193179280|issn=0004-3079|access-date=5 June 2021|archive-date=5 June 2021|archive-url=https://web.archive.org/web/20210605131954/https://www.tandfonline.com/doi/abs/10.1080/00043079.2015.1023158|url-status=live}}</ref> Monet chose the location in the hope of finding a "new aesthetic language that bypassed learned formulas, one that would be both true to nature and unique to him as an individual, not like anyone else."<ref name=":15" />

[[File:Claude monet in his third studio.jpg|thumb|Monet at work in the large studio at [[Fondation Monet in Giverny|his Giverny home]]]]
In 1899, he began painting the water lilies that would occupy him continuously for the next 20 years of his life, being his last and "most ambitious" sequence of paintings.<ref name="House" /><ref>{{Cite web|url=https://www.metmuseum.org/art/collection/search/438008|title=Water Lilies 1919|website=Metropolitan Museum of Art|access-date=6 June 2021|archive-date=30 January 2022|archive-url=https://web.archive.org/web/20220130175532/https://www.metmuseum.org/art/collection/search/438008|url-status=live}}</ref> He had exhibited this first group of pictures of the garden, devoted primarily to his Japanese bridge, in 1900.<ref name=":11" /> He returned to London—now residing at the prestigious [[Savoy Hotel]]—in 1899 to produce a series that included 41 paintings of [[Waterloo Bridge (Monet series)|Waterloo bridge]], 34 of [[Charing Cross Bridge (Monet series)|Charing Cross bridge]] and 19 of the [[Houses of Parliament (Monet series)|House of Parliament]].<ref name=":9">{{Cite journal|last1=Khan|first1=Soraya|last2=Thornes|first2=John E|last3=Baker|first3=Jacob|last4=Olson|first4=Donald W|last5=Doescher|first5=Russell L|date=2010|title=Monet at the Savoy|url=https://www.jstor.org/stable/27801462|journal=Area|volume=42|issue=2|pages=208–216|doi=10.1111/j.1475-4762.2009.00913.x|jstor=27801462|bibcode=2010Area...42..208K |issn=0004-0894|access-date=2 June 2021|archive-date=3 June 2021|archive-url=https://web.archive.org/web/20210603034258/https://www.jstor.org/stable/27801462|url-status=live}}</ref> Monet's final journey would be to Venice, with Alice in 1908.<ref name=":11" />

Depictions of the water lilies, with alternating light and mirror-like reflections, became an integral part of his work.<ref>Muir, Kim; Sutherland, Ken. "[https://www.artic.edu/articles/862/color-chemistry-and-creativity-in-monets-water-lilies Color, Chemistry, and Creativity in Monet's Water Lilies] {{Webarchive|url=https://web.archive.org/web/20210606073133/https://www.artic.edu/articles/862/color-chemistry-and-creativity-in-monets-water-lilies |date=6 June 2021 }}". [[Art Institute of Chicago]], 9 February 2021.  Retrieved 6 June 2021</ref> By the mid-1910s Monet had achieved "a completely new, fluid, and somewhat audacious style of painting in which the water-lily pond became the point of departure for an almost abstract art".<ref>"[http://www.metmuseum.org/toah/works-of-art/1983.532 Water Lilies] {{Webarchive|url=https://web.archive.org/web/20131215135614/http://www.metmuseum.org/toah/works-of-art/1983.532 |date=15 December 2013 }}". Metropolitan Museum of Art. Retrieved 6 June 2021</ref> [[Claude Roger-Marx]] noted in a review of Monet's successful 1909 exhibition of the first ''[[Water Lilies (Monet series)|Water Lilies]]'' series that he had "reached the ultimate degree of abstraction and imagination joined to the real".{{Sfn|Bailey|Rishel|Rosenthal|1989|pp=58}} This exhibition, entitled ''Waterlilies, a Series of Waterscape,'' consisted of 42 canvases, his "largest and most unified series to date"''.''<ref name=":11" /> He would ultimately make over 250 paintings of the ''Waterlilies''.<ref name=":13" />

At his house, Monet met with artists, writers, intellectuals and politicians from France, England, Japan and the United States.{{sfn|Brettell|Hayes Tucker|Henderson Lee|2009|pp=63}} In the summer of 1887, he met [[John Singer Sargent]] whose experimentation with figure painting out of doors intrigued him; the pair went on to frequently influence each other.{{Sfn|Bailey|Rishel|Rosenthal|1989|pp=54}}

{{Clear}}
<gallery widths="180px" heights="150px" perrow="4" caption="Garden">
File:Monet - Im Garten - 1895.jpeg|''In the Garden'', 1895, Collection E. G. Buehrle, Zürich
File:1914-26 Claude Monet Agapanthus MOMA NY anagoria.JPG|''Agapanthus'', between 1914 and 1926, [[Museum of Modern Art]], New York
File:Claude Monet - Flowering Arches, Giverny.JPG|''Flowering Arches, Giverny'', 1913, [[Phoenix Art Museum]]
File:Water-Lilies-and-Japanese-Bridge-(1897-1899)-Monet.jpg|''Water Lilies and the Japanese Bridge'', 1897–1899, [[Princeton University Art Museum]]
File:Monet - Seerosen 1906.jpg|''Water Lilies'', 1906, [[Art Institute of Chicago]]
File:Monet - Seerosen6.jpg|''Water Lilies'', [[Musée Marmottan Monet]]
File:Nympheas 71293 3.jpg|''Water Lilies'', {{circa}} 1915, [[Neue Pinakothek]], Munich
File:Monet - Seerosen5.jpg|''Water Lilies'', {{Circa|1915}}, [[Musée Marmottan Monet]]
</gallery>