It might even be argued that Claude Monet’s masterpiece is the garden at Giverny. Although he was the father of Impressionism, he was also the pioneer of land art, and transmuted nature into art. People from around the world never stopped recognising his genius (more than 700,000 visitors in 2019) from all the continents to savour the immersive experience of the flower garden, the Lily Pond, and the Japanese Bridge.
From 1883 on, when Monet arrived, this little village was no longer a haven of peace but instead became the village of painters from around the world. Hundreds of artists moved here, mostly Americans, seeking to paint in the open air, looking for that Normandy countryside light. As talent ambassadors, they have succeeded, alongside the Master, in conveying the passion and imagination of Impressionism country. Today heads of state, crowned heads and other celebrities pass through Giverny, seeking to prolong the dream and preserve the mythology of a place that seized the imagination of the entire world.
The Terra Foundation and the birth of the MDIG
Daniel J. Terra, billionaire and American collector, in 1992 opened the Musée d’Art Américain (Museum of American Art) in Giverny (MAAG). Passionate about Impressionism, he took an interest in the many American artists who came to study in Paris and then at Giverny, seeking to be close to Claude Monet at the end of the 19th century. He sought to build a bridge between American and French art, and to see the paintings created at Giverny return there; he turned this dream into reality.
In 2009 the Museum shed its skin, so to speak, and thanks to a partnership between the Terra Foundation for American Art and the Eure Departmental Council, became the Giverny Museum of Impressionism.
Its mandate is to spread information about the origins, the geographical reach and the influence of Impressionism through major art exhibitions. Some of the better-known ones: Bonnard in Normandy in 2011; Caillebotte, Painter and Gardener in 2016 ; Sorolla, a Spanish painter in Paris in 2016 ; Manguin, The Voluptuousness Of Colour, in 2017 and ‘Japonisms / Impressionnisms’ in 2018.
You must be logged in or register on this page to post a comment.