by Sharon Kane
I recently visited one of the most famous gardens in the world: a garden in northern France, in the village of Giverny. My guides were Giancarlo Ascari and Pia Valentinis, author and illustrator of The Garden of Monsieur Monet (2015, Royal Academy of Arts). The first pages of this graphic novel show Claude Monet and his family arriving at their new home, but what I encountered upon opening the book gave me the context for the story that was to follow. Titled “The Belle Epoque,” an introduction describes the period at the end of the nineteenth and start of the twentieth centuries, when arts and sciences were flourishing across Europe. Illustrations and captions give information about the cinema, motor cars, railway lines, electric lights, radio transmissions, the discovery of vaccines, aircraft, the construction of the Eiffel Tower, and art and fashion from the newly explored Japan. Everything sounds positive until one sees the words in the bottom right-hand corner: “In 1914 the belle epoque came to a tragic end with the beginning of the First World War.”
For many pages, we don’t have to think about war. We can join Monet as he decorates his home with Japanese art throughout; as he heads to the fields to paint in the open air; as he brings in guests to enjoy the flowering gardens. But war intrudes, and we see the gardeners leaving to fight. We learn that a depressed Monet, hearing the sound of the artillery in the distance, goes inside his home to re-create his water garden on huge canvases, even as his eyesight fails.
The closing pages are a delight, displaying an illustrated catalog of some of the flowers found in Monet’s garden: Japanese cherry, foxtail lily, snowdrop, white foxglove, flowering quince, gladiolus, and many more.
On one double-page spread we see eleven versions of Monet’s haystack paintings. “Monsieur Monet is so fascinated by the variations of light and color that he paints the same subject over and over again at different times of the day and in different seasons of the year” (unpaged). Students can follow the master’s example as they notice, and capture in some medium, the objects and scenes from their everyday lives. They can also apply the principle of perspective to Monet himself, by exploring other biographies of the artist to see what is emphasized and compare them to this biography.
Art, history, ELA
Appropriate for intermediate and middle grades, and high school