In the last decades of Monet's life, his prized water garden at Giverny became a subject the artist explored obsessively, painting it 250 times between 1900 and his death. Eventually, it was his only subject. He began construction of the water garden as soon as he moved to Giverny, petitioning local authorities to divert water from a nearby river. The resulting landscape was Monet's invention entirely, and he used it as his creative focus and inspiration.
The treatment of the water's surface, like the envelope of light and atmosphere that bathed the cathedrals and other serial subjects, unified the Giverny work. Here, the sky has disappeared from the painting; the lush foliage rises all the way to the horizon, and space is flattened by the decorative arch of the bridge. Our attention is focused onto the painting itself and held there, not drawn into the scene depicted. In later lily pond paintings, even more of the setting evaporates, and the water's surface alone occupies the entire canvas. Floating lily pads and mirrored reflections assume equal stature, blurring distinctions between solid objects and transitory effects of light. Monet had always been interested in reflections, seeing their fragmented forms as a natural equivalent for his own broken brushwork.
[Oil on canvas, 81.3 x 101.6 cm]