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A pale turquoise footbridge arching over a pond lined with tall grasses and filled with petal-pink and butter-yellow waterlilies spans this horizontal landscape painting. The scene is loosely painted with touches of vibrant color. In the top third of the composition, the shallowly arched bridge nearly touches the top edge of the canvas, and it extends off each side. The shadows on the bridge are painted with eggplant purple. Bands of waterlilies gently zigzag into the distance on the surface of the water. The spring and emerald-green grasses growing along the banks fill the space around and over the pond, and they blend into a screen of trees beyond that enclose the scene. The green of the grasses and trees is reflected in the surface of the water, as is the underside of the bridge. The artist signed and dated the work with dark paint in the lower right corner: “Claude Monet 99.”

Claude Monet, The Japanese Footbridge, 1899, oil on canvas, Gift of Victoria Nebeker Coberly, in memory of her son John W. Mudd, and Walter H. and Leonore Annenberg, 1992.9.1

The Lure of Japan in 19th Century European and American Art

Focus: The Collection

  • Saturday, April 6, 2024
  • 12:00 p.m. – 1:00 p.m.
  • East Building Auditorium
  • Talks
  • Hybrid
  • Registration Required

There was huge admiration for all things Japanese in the second half of the nineteenth century both in Europe and America. In this talk, senior lecturer, David Gariff, explores the late nineteenth-century vogue for “japonisme” in the art of Claude Monet, Edgar Degas, Mary Cassatt, James McNeill Whistler, William Merritt Chase, and others. 

This hybrid lecture is offered in person and virtually. All registrants will receive a recording after the event.