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Over the years I’ve visited Monet’s gardens and lily pond at Giverny at various times during its open seasons, late March to early November. I’ve witnessed it in their various stages of bloom and rebloom, and each time their expression is different. That was, after all, Monet created them and returned to them so often in his work, especially in his 70s and 80s. I visited Giverny again recently in early October (the photos in this article are from then) and was once again impressed by how it had maintained its lushness and color into the fall. The season’s calm, flower-friendly weather had certainly helped.

When visitors without much interest in Monet or in his work follow the paths around his pond and through his garden they inevitably find them lovely. For those curious about the artist (1840-1926), his sustained form of Impressionism and his family life (two children with his first wife who died shortly after the birth of their second child, cohabitation then marriage with a long-time friend who had six children of her own after their father had abandoned the family), the garden and lily pond are magnificent. With the naked eye rather than through a camera lens they are extremely telling and will invariably send a visitor back to Paris with intentions to revisit Monet’s work at the Orsay Museum and more particularly at the Orangerie Museum and at the Marmottan Monet Museum.

I often feel uplifted after a visit to Giverny, both for the view of the (controlled) nature itself and for my own interest in the man and in his work. Though I’d rather visit with sunny skies or white clouds, overcast weather also allows insights into Monet’s world and outlook. I’m less fond of a rainy-day visit, but from beneath an umbrella I’ve come to appreciate Monet’s gardens at Giverny more than Louis XIV’s at Versailles.

Yet I often find myself less than encouraging when advising travelers on whether or not to trek out to Giverny, 45 miles west of Paris, on a daytrip. I’m concerned that the weather will be bad (Giverny is, after all, at the entrance to Normandy, which is not known for sunny days) and/or the crowds overwhelming, and that even on a pleasant day they will spend 90 minutes or more getting out there only to find Giverny lends itself to a 45-minute visit.

I know, there’s more to do in Giverny than visit the house and garden and lily pond; there’s the Monet boutique (as you can imagine, Monet’s work lends itself to appealing merchandising) and some pretty (yawn) art galleries, there’s the enjoyable and occasionally insightful Giverny Museum of Impressionisms, whose restaurant is a decent place to lunch, and there’s the relatively little visited tomb of Monet in the village churchyard. So it is possible to spend a couple of hours here. Also, though often ignored, the nearby town of Vernon, which is where you stop if coming this way be train, gives a nice and ordinary sense of small-town France for those who know little of that life. Still, I’m just not always convinced that it’s worth the time for those who have little of it in Paris. As I say, I’m a big fan of Monet’s garden and lily pond. But I don’t think that making it a destination in and of itself is right for all those who say they would like to see them.

However, add La Roche-Guyon to the day and I’m sure to encourage a visit to this area. La Roche-Guyon is a village along the Seine just 5 miles to the east Giverny, on the opposite side of the Normand border. Though the castle of La Roche-Guyon is mostly empty inside (that is, the public parts are since a portion is private chateau, which belongs to the La Rochefoucauld family, is still inhabited and used for artist residencies) it nevertheless gives a glimpse of some strong points in French history, including the importance of its strategic site overlooking a loop in the Seine (a 12-century dungeon is accessed through stairs cut into the cliff) to its stories from the Enlightenment and the Revolution (the 18th-century portion and rehabilitated garden) to its WWII history (this was Rommel’s headquarters during the lead up to D-Day 1944)

Maybe you don’t feel like climbing many steps up to the dungeon or don’t have enough time to visit the castle at all. Still, the view is impressive. Furthermore, La Roche-Guyon makes for an easy-going lunch stop at Les Bords de Seine, which offers one of the best inexpensive lunch deals you’ll find anyway. Or the edge of the Seine is a wonderful spot for a picnic made from bread and cheese and such purchase in the village.

You’ll need your own wheels, however, to visit both Giverny and La Roche-Guyon, either a rental car or a bike rented in Vernon, which is why so few visitors to Giverny ever make it to La Roche-Guyon, despite its proximity.

I especially recommend the Giverny – La Roche-Guyon combo to those flying into Paris and wishing to drive directly to Normandy to visit the D-Day Beaches. It makes for a nice break in a tiring day between the airport and whatever hotel you’ll be staying at in Normandy.

Alternatively, you can stop at both Giverny and La Roche-Guyon on the way back from Normandy, but the timing can be more difficult if returning in the afternoon since you’ll want to avoid driving into Paris during rush hour.

I write this with fond memories of my own recent October visit to both villages on the route between Charles de Gaulle Airport and Bayeux.

© 2014, Gary Lee Kraut

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By Elise Prudhomme

André Le Nôtre designed the Garden of Versailles to display, reflect and serve as the backdrop for the pomp and glory and power of the reign of Louis XIV. As such the garden functioned as a direct extension of the palace itself.

Piqued by Nicolas Fouquet’s audacious success with the Château of Vaux-le-Vicomte which he visited in 1661, Louis XIV enlisted the three men who had contributed to that success—the architect Louis Le Vau, the painter-decorator Charles Le Brun and the landscape gardener André Le Nôtre—to create the palace of all palaces: Versailles.

Over more than 50 years of adult reign, the king would devote much of his time and energy, when France was not at war, to enlarging and embellishing the 800 hectares (1977 acres) of land called the Domain of Versailles which now contains 200,000 trees, 50 fountains and 620 water jets fed by 35 km (21.7 miles) of water pipeline. In a monumental example of man’s attempt to balance order and disorder, culture and nature, spontaneity and reflection, Le Nôtre served the king by creating architecture from nature.

Through his self-incarnation as the Sun King, Louis XIV used metaphor and symbolism as constant echoes and demonstrations of his power. From the king’s ceremonial dressing and rise in the morning (le lever du Roi) to his ceremonial undressing and putting to bed at night (le coucher du Roi), by way of a well-regulated day that included a walk in the garden under the watchful eye of the Court, Louis XIV exposed his lives to the public eye with the aim of concentrating and asserting their power. Integral part of this goal, the Garden of Versailles served the strategic purpose of promoting the king’s power while amusing and containing the masses of Court subjects, twin arms in preventing them from plotting against him.

The garden was an immediate reflection of his public image as the Sun King. An important quantity of statuary representing classical themes was ordered in 1674 by Louis XIV to embellish the parterres, and in the same year the king ordered the addition to the Grand Canal called Little Venice where gondolas and decorative boats were docked to serve the pleasures of the Court. Louis XIV’s strongest ally, Apollo (the Greek Sun-god or God of Light), is represented in fountains and grottos and statuary throughout the garden to allude to the king’s omnipresence.

The mastermind behind this colossal project was André Le Nôtre. The king himself poured over the plans. Careful and strategic planning was required to create a garden that was at once opulent, in phase with the palace, able to reveal and dissimulate through nature so that discovery of the garden became an adventure and a distraction in itself, all the while speaking of the power and glory of Louis XIV.

The foundation of André Le Nôtre’s creation was shear manpower; millions of men, regiments even, were involved in transforming the landscape and diverting water here. Chariots and wheelbarrows containing countless tons of earth were required to transform the prairies and swamp land which originally constituted the Domain of Versailles. Trees were brought to Versailles from all over France to stabilize and maintain this earthly base, transforming flatlands into hilled woodland. Andre Le Nôtre worked with subtlety and mathematical know-how, tried and tested at the Tuileries Gardens and Vaux-le-Vicomte, to create illusions of perspective which evolve as the garden unfolds.

André Le Nôtre’s genius is particularly evident in the walls of the Sun King’s “outdoor palace.” Masses of hedges form bosquets, behind which follies and fountains reveal themselves like little theaters or tableaux vivants. Walking through the gardens, one is struck by the density and size of these thickets and the quantity of trellis work that prevents the untamed forest areas from invading the paths. While providing shade, these geometrically trimmed vegetal walls protect from wind and give shelter to birds and small wildlife. It is interesting to notice today that the areas of the garden that are in the process of being replanted are initially delimited by trellis work, as if the first step in the garden’s construction.

André Le Nôtre did not content himself with the construction of just one wall, however; there are walls within walls. The bosquets are often doubled with a second wall of vegetation, trimmed and adorned with statuary which offers heightened visual complexity and a shady path. The final flourish is a third row of topiary statues, notably along the east-west axis extending from the palace to the Grand Canal and the north-south axis leading to Neptune’s Basin. Nature in this case, serves a decorative rather than functional purpose, heralded by white marble or dark stone statuary providing contrast in texture and color to the pervasive green of the garden.

This is the orderly representation of the Garden of Versailles, where nature is trimmed (they cut the topiary statues using life-size cardboard models for accuracy), trained, maintained. This is also a visually unstructured aspect of André Le Nôtre’s garden architecture which is demonstrated in the King’s Garden: here an aboretum coexists in harmony and color with low topiary hedges and grassy lawns. The trees act like a bosquet, preventing the viewer from seeing out beyond his immediate surroundings, while providing shelter from wind.

The Park of Versailles begins past the Apollo Fountain and beyond the wrought iron gates that delimit the Garden of Versailles. If the Garden of Versailles is Louis XIV’s outdoor palace, the park—which includes forests, fields and the gardens of the Trianon Palaces—can be seen as the garden of the Garden, in that it is just as carefully maintained and planned in its “wooded” form as the former is in its “constructed” form.

Walking past the garden gates one leaves beyond the imposing formality of the Garden of Versailles to visit the Grand and Petit Trianons and their respective gardens and beyond the Petit Trianon to the Queen’s Hamlet, a quaint working farm as desired by Marie-Antoinette. These gardens are exceptionally charming because they are smaller in size and scope as well as being less formal and more romantic, making them a treat for any photographer willing to venture beyond the crowds.

While André Le Nôtre successfully built Louis XIV’s garden to reflect the king’s power and to capture the attention of the masses, I don’t believe that he could have imagined in his wildest dreams that this glorious place would attract some many visitors for many years to come. Yet the garden still manages to conquer in splendor. Now, if only they would replace the golf carts and tourist “trains” with Apollo’s chariots and horses.

Text and images © Elise Prudhomme.

A Philadelphia-born photographer living in Paris since 1990, Elise Prudhomme developed a passion for photography during university years at Smith College. In addition to her own photography, she directs Studio Galerie B&B, an art gallery, photo studio, darkroom facility and digital imaging center in Paris, 6 bis rue des Récollets, near Canal Saint-Martin in the 10th arrondissement. More images can been seen at www.eliseprudhomme.com.

Also see Elise’s text and images concerning the Tuileries Garden.

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The cusp of spring is prime time for skytrees, and the images below, taken in the third weeks of March, are prime examples of skytrees in Paris: Arc de Triomphe, Notre-Dame, Saint Sulpice and Montmartre/Sacré Coeur by nightfall.

My favorite early spring skytrees were noticed during a recent evening while wandering around Montmartre before meeting friends for dinner.

Dinner too was a treat. We dined at Le Grand 8, a highly recommendable moderately-priced restaurant just downhill from Sacré Coeur on its lesser visited eastern side. There, Kamel Tabti and Stéphane Tomeï and their staff amiably serve simply and well-prepared dishes and natural/organic wines. It’s at once urbane, rustic and homey.

Le Grand 8. 8 rue Lamarck, 18th arrondissement. Tel. 01 42 55 04 55. Metro Anvers. Open for lunch Sat. and Sun. noon-3pm, for dinner Wed-Sun. 7-11:30pm. Reservations are advisable. www.legrand8.fr

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It was a Monday, the day the palace is closed to the public, so relatively few people visit the gardens that day, even though they remain open. Even fewer visit on a cold misty Monday in February.

The alleys were empty. The fountains were silent. There trees were reflected in the still algal water in the basins.

That and more can be seen in the audio slide-show below.

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Pointe du Layet is right next to Cap Nègre, famous as Carla Bruni’s family residence and hence that of her husband the president. Carla and Nicolas prefer Cap Nègre to Fort de Brégançon, an official presidential vacation residence that’s only a few kilometers away.

Shot from below, this is a eucalyptus, which gives off subtle fragrances in the heat of the sunny in the south.

Dans le cadre des études France Revisited sur le rapport entre les arbres et les lieux, voici trois images prises par Stanislas Illya Yankovich sur la côte méditerranéenne entre Toulon et St Tropez à la Pointe du Layet. Mais attention aux visiteurs pudiques: l’endroit est déclaré naturiste

La Pointe du Layet se trouve juste à côté du Cap Nègre, célèbre par la résidence familiale de Carla qui y accueille son président de mari, qu’ensemble ils préfèrent à l’officiel Fort de Brégançon qui n’est distant que de quelques kilomètres.

Pris par en dessous, c’est un eucalyptus (à gauche) qui, dans la chaleur du soleil du Midi, dégage de subtiles effluves.

And these two are “tortured” pines by the sea.
Et les deux autres sont des pins “torturés” par la mer.

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Here are several examples from a recent trip to Provence using the vantage point of olive trees.

The first one is from Avignon.

The second is also from Avignon. The stone tower seen in the lower portion of the image is the upper portion of one of the towers that punctuate the walls surrounding the old town.

This third is from Nimes. My shirt was getting caught in the branches as I bent down to take the shot, which caused the leaves to blur and allowed me to capture something of the mood of the park toward sunset that evening. The stones glimpsed here are those of a Roman tower.

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