The most important exhibition of the 19th-century French painter’s work in Canada in over two decades makes its only North American pit-stop.
Shimmering light refracted through a talented prism is the essence of Impressionist painting. But, as shown in a stellar exhibition at the Philadelphia Museum of Art called Discovering the Impressionists: Paul Durand-Ruel and the New Painting, had it not been for one uniquely perceptive, hard-working Parisian dealer, the movement might have faded away like the clouds in a Monet sky.
If, in their geometry, the grounds at Versailles are a Bach fugue, Monet’s soft-focus plantings in Giverny are more a Debussy tone poem. “Monet would paint in layers, and I think he made his garden in the same way,” says British-born James Priest, who took on the role of head jardinier last year.