TY  - JOUR
T1  - THe water-lily pond—symphony in green
AU  - Harris JC
Y1  - 2007/12/01
N1  - 10.1001/archpsyc.64.12.1347
JO  - Archives of General Psychiatry
SP  - 1347
EP  - 1347
VL  - 64
IS  - 12
N2  - 
Throughout his life, Claude Monet (1840-1926) retained his enthusiasm for the Japanese art that had first inspired him and his fellow artists in the 1860s. He displayed his precious framed Japanese prints (he had more than 230) in the yellow dining room and up the stairs at his home in Giverny, France. In 1920 the Duc de Trévise observed that Monet, despite his failing vision,3- 4 was still lyrically describing the impact of Japanese ukiyo-e colored woodblock prints on his work, calling his attention (epigraph) to Katsushika Hokusai's Pink and Red Peonies Blown to the Left in a Breeze and a Butterfly. Drawn particularly to the work of Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858), he diligently studied their style, coloration, brush strokes, and subject matter as he developed his own.

SN  - 0003-990X
M3  - doi: 10.1001/archpsyc.64.12.1347
UR  - http://dx.doi.org/10.1001/archpsyc.64.12.1347
ER  -