Claude Monet: The Japanese FootbridgeThe Japanese Footbridge, oil on canvas by Claude Monet, c. 1920–22; in the Museum of Modern Art, New York City. 89.5 × 116.3 cm.(more)The Japanese Footbridge, oil-on-canvas painting by Claude Monet of the Japanese-style footbridge that was the focal point of his garden at Giverny, France. The structure was one of his favorite subjects, and he painted it over and over again, catching it in different moods and lights. Unlike the more familiar paintings of the bridge where the overpass is clearly delineated and the colors are made up of lush greens and soft pinks, this piece is notable for its blurry forms and red tones. The painting was probably created between 1920 and 1922, during a period when Monet suffered from cataracts, and it demonstrates how they distorted his vision.

　　At the beginning of the 20th century, landscape painting was the dominant genre of modern art. The Impressionists’ bright and spontaneous depictions of nature appealed to the town-dwelling middle classes, for whom the countryside was primarily a place for leisure and enjoyment. Monet bought his house in Giverny in 1890 and developed its gardens, introducing an ornamental lily pond, the Japanese-style footbridge, and other stunning features. The garden became his main focus, and he spent most of his time painting visions of evanescent light and color from his surroundings. Having painted outdoors first, he would then repair to his studio to work and rework his canvases, which became layered and complex.

　　Monet’s eyesight began to suffer in 1908 as cataracts formed. This painting and others that he produced while the cataracts affected his vision have a general reddish tone, which demonstrates a characteristic symptom of cataracts. He had effective treatment in 1923, the year after he likely completed this painting, which is one of his most abstract works. While the bridge can be delineated at the center, the energetic brushstrokes form a swirl of trees, plants, and water. He explored his subject so closely that the whole dissolved into the interplay of color, light, foliage, and reflection. The thick, impasto brushwork later influenced the Abstract Expressionists.