Cover image for Monet at Giverny
Monet at Giverny
Sagner, Karin.
Personal Author:
Publication Information:
Munich ; New York : Prestel, [1994]

Physical Description:
117 pages : illustrations (some color) ; 26 cm
General Note:
"Pegasus library"--Jacket.
Geographic Term:
Format :


Call Number
Material Type
Home Location
Item Holds
ND553.M7 S2437 1994 Adult Non-Fiction Central Closed Stacks

On Order



In 1883, the French Impressionist painter Claude Monet settled with his family in Giverny, north of Paris. There, amidst the romantic garden landscape (which he himself designed), he created the most fascinating and influential works in the 40 year period before his death.

Reviews 2

Library Journal Review

Each of the attractively designed, compact, and well-illustrated hardcover books in this series deals with a specific facet of an artist's career. As with any series, the quality of the titles vary‘though the translations from the German are all dotted with odd grammatical constructions and the occasional ambiguity. Sagner-Düchting's discussion of Claude Monet's work at Giverny is a good introduction to the artist's important contribution to Impressionism as well as a careful analysis of his great series of grain stacks and water lilies. Partsch focuses on Klimt's relationships with women‘both as an artist and as a man‘offering a good, detailed account of Klimt and Emilie Flöge (a fashion designer and perhaps his true love). The one disappointment is the work on Rodin and Claudel. Schmoll is defensive about the attention and praise given sculptor Camille Claudel in recent years (often, admittedly, at the expense of Rodin). His portrayal of Claudel in this brief book is at times quite negative and at odds with the picture that has emerged from the work of Reine-Marie Paris (Camille Claudel, National Museum of Women in the Arts, 1990). The "Pegasus Library" aims to provide a focused study of one aspect of an artist's oeuvre in an inexpensive format. Previous subjects include Pablo Picasso, Marc Chagall, and Vasily Kandinsky (all LJ 11/1/94). Although individual titles may be of interest to libraries, the narrow focus and variations in quality make the series as a whole an optional purchase.‘Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, D.C. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

"The Pegasus Library" identifies itself as "an affordable new series that all art lovers will value," claiming that each volume "allows the reader an intimate glimpse of significant aspects of an individual artist's work or of the passions that lay behind famous creative partnerships or collaborations." Monet's work at Giverny seems a natural subject for inclusion in this series. Giverny is the location where Monet's major abstract paintings were completed; his garden remains a shrine to which tourists flock each season. Unfortunately this publication falls short of expectations on nearly every level. The author does not present an argument, but rather relies on a 1926 statement by Monet's friend Georges Clemenceau to serve as an introduction to the book. The text suffers from occasional factual inaccuracies and a lack of documentation at the same time that it presupposes considerable prior knowledge. In the end this serves to eliminate any viable use and potential audience. Art lovers will find the greatest fault in the illustrations, as the colors of Monet's original paintings have often been misrepresented. Recent books have covered this subject in better fashion, if not at such an affordable price. E. K. Menon; St. Olaf College