3/internal/media/dispatcher/70888/fullPath in Monet's Garden in Giverny1902[Claude Monet]Claude MonetOil on canvasIt is late summer. The leaves and flowers seem positively to shimmer, the painting a tapestry of juxtaposed dabs of paint. Solid shapes are nowhere to be seen—everything is color. The herbaceous borders of nasturtiums, asters, and dahlias and the sandy path leading to a house all shine brightly. Dappled shadows dissolve into an array of dark hues. In spring 1883 Monet moved to a house in Giverny, northwest of Paris. He immediately started designing the garden; a water-lily pond was a later addition. In 1872 the little-known painter had unwittingly given Impressionism its name when he exhibited Impression, soleil levant (Impression, Sunrise). His water-lily paintings and images of this avenue in his garden represent the climax and culmination of this style.Paintinghttps://sammlungtest.belvedere.at/objects/2683/rdf/internal/media/dispatcher/142781/fullFishermen on the Seine near Poissy1882[Claude Monet]Claude MonetOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/294/rdf/internal/media/dispatcher/70867/fullThe Chef (Le Père Paul)1882[Claude Monet]Claude MonetOil on canvasThe light! The colors! Impressionist paintings seem to radiate light from within. Nuances of pink, blue, and green are juxtaposed. Close up, all one initially notices are dabs of paint. Only from the right distance do the chef’s hat and jacket, illuminated passages and shadows take shape. Like all Impressionists, Monet is not interested in neatly depicting real objects but rather in the fleeting perception of optical phenomena. The sitter is Paul Antoine Graff. He was a much-lauded chef and the owner of a small hotel in Pourville in northern France, where Monet stayed for several weeks in 1882.Paintinghttps://sammlungtest.belvedere.at/objects/6289/rdf