Top 100 - The 100 most famous gardens in painting
The 100 most famous gardens in painting
From Bosch, Monet and Van Gogh to Klimt, Pissarro, Bonnard and Sorolla: a hundred gardens where cultivated nature becomes light, space and memory
This ranking brings together one hundred garden paintings by 23 artists from European and American traditions.
One hundred paintings to enter the garden
When cultivated nature becomes a pictorial world
The garden occupies a unique place between landscape and interior. It belongs to nature, but its paths, fences, ponds and plantations reveal a human will. The painter therefore works on a space already composed before even placing his easel.
The garden is never intact nature: it is a landscape chosen, ordered, inhabited - then recomposed a second time by the painter.Switch to images
Classification in images
Monet, Van Gogh, Bosch, Klimt, Sargent, Pissarro, Bonnard and Sorolla open the route with the most instantly recognizable gardens.
#1
The Artist's Garden in Giverny
In row 1, "The Artist's Garden in Giverny" by Claude Monet belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#2
The Water Lilies Basin, green harmony
In row 2, "The Water Lilies Basin, Green Harmony" by Claude Monet belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark from the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#3
The Garden of Delights
In row 3, "The Garden of Delights" by Hieronymus Bosch belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark of history art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#4
Daubigny's garden
In row 4, "The garden of Daubigny" by Vincent van Gogh belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark of history art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#5
Farm garden with sunflowers
In row 5, "Farm garden with sunflowers" by Gustav Klimt belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#6
Carnation, Lily, Lily, Rose
In row 6, "Carnation, Lily, Lily, Rose" by John Singer Sargent belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#7
Women in the garden
In row 7, "Women in the garden" by Claude Monet belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#8
Claude Monet painting in his garden in Argenteuil
In row 8, "Claude Monet painting in his garden in Argenteuil" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#9
The Monet family in their garden in Argenteuil
In row 9, "The Monet family in their garden in Argenteuil" by Édouard Manet belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The gaze must in particular follow the way in which a garden image has become one landmark of art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#10
Jardin des Mathurins, in Pontoise
In row 10, "Jardin des Mathurins, in Pontoise" by Camille Pissarro belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#11
Iris
In row 11, "Iris" by Vincent van Gogh belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#12
The Big Garden
In row 12, "The Great Garden" by Pierre Bonnard belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#13
Garden of Maison Sorolla (1918-1919)
In row 13, "Garden of the Sorolla House (1918-1919)" by Joaquin Sorolla belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The gaze must in particular follow the way in which a garden image has become one landmark of art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#14
The garden in Bougival
In row 14, "Le jardin à Bougival" by Berthe Morisot belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#15
Lydia crocheting in the garden in Marly
In row 15, "Lydia crocheting in the garden in Marly" by Mary Cassatt belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark from the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#16
The white garden at dusk
In row 16, "The white garden at dusk" by Henri Le Sidaner belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#17
Public gardens: conversation, nannies, the red umbrella
In row 17, "Public gardens: conversation, nurses, the red umbrella" by Édouard Vuillard belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which an image garden has become a landmark in art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and constructed landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#18
Tea in the garden
In row 18, "Tea in the Garden" by Henri Matisse belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the way in which a garden image has become a landmark in the history of art. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#19
Murnau - The Garden II
In row 19, "Murnau - The Garden II" by Wassily Kandinsky belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#20
The vegetable garden, Yerres
In row 20, "The vegetable garden, Yerres" by Gustave Caillebotte belongs to the chapter devoted to the twenty icons of the painted garden. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The gaze must in particular follow the way in which a garden image has become a landmark art history. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
View product →Monet and Pissarro follow the variations in light between Giverny, Vétheuil, Argenteuil, Montgeron, Bordighera, Pontoise and Éragny.
#21
Camille Monet (1847-1879) in the Argentieu garden
In row 21, "Camille Monet (1847-1879) in the Argentieu garden" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of the natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#22
Camille Monet on a garden bench
In row 22, "Camille Monet on a garden bench" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#23
Garden in bloom, in Sainte-Adresse
In row 23, "Garden in bloom, in Sainte-Adresse" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#24
The garden of Vétheuil
In row 24, "The garden of Vétheuil" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#25
Tuileries Garden
In row 25, "Jardin des Tuileries" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#26
Parc Monceau
In row 26, "Le Parc Monceau" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#27
Garden corner in Montgeron
In row 27, "Garden corner in Montgeron" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#28
Garden in Bordighera
In row 28, "Garden in Bordighera" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#29
Moreno Garden in Bordighera
In row 29, "Jardin Moreno à Bordighera" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#30
Corner of the pond in Giverny
In row 30, "Coin de l'étang à Giverny" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#31
The Water Lilies Basin, in the evening
In row 31, "The Water Lilies Basin, in the Evening" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#32
The path through the irises
In row 32, "The path through the irises" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#33
The Rose Alley, Giverny
In row 33, "L'Allée de rosiers, Giverny" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#34
The Artist's Garden in Vétheuil
In row 34, "The Artist's Garden in Vétheuil" by Claude Monet belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#35
Hermitage Garden, the "Red House", Pontoise
In row 35, "Jardin de l'Hermitage, the "Red House", Pontoise" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of the natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#36
The Artist's Garden in Eragny
In row 36, "Le Jardin de l'Artiste à Eragny" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#37
The Tuileries Gardens, morning, sun
In row 37, "Le Jardin des Tuileries, matin, soleil" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#38
Octave Mirbeau's Garden, the Terrace, Les Damps
In row 38, "Le Jardin d'Octave Mirbeau, la Terrasse, Les Damps" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of the natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#39
vegetable garden at the Hermitage. Pontoise
In row 39, "vegetable garden at the Hermitage. Pontoise" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#40
The Éragny Orchard
In row 40, "Le Verger d'Éragny" by Camille Pissarro belongs to the chapter devoted to impressionist gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the vibration of natural light between paths, foliage, water and flowers. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
View product →Sargent, Cassatt, Morisot, Bracquemond, Renoir and Bonnard observe walks, rest, conversation and family life under the trees.
#41
In the Luxembourg gardens
In row 41, "In the Luxembourg Gardens" by John Singer Sargent belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#42
In Torre Galli: Ladies in a garden
In row 42, "In Torre Galli: Ladies in a Garden" by John Singer Sargent belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#43
In the garden
In row 43, "In the Garden" by Mary Cassatt belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#44
Spring: Margot standing in a garden (Girl in a garden)
In row 44, "Spring: Margot standing in a garden (Girl in a garden)" by Mary Cassatt belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#45
Children in a garden (The nurse)
In row 45, "Children in a Garden (The Nanny)" by Mary Cassatt belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#46
Woman in the garden (Arnulphi villa in Nice)
In row 46, "Woman in the garden (Villa Arnulphi in Nice)" by Berthe Morisot belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#47
Eugène Manet and his daughter in the Bougival garden
In row 47, "Eugène Manet and his daughter in the Bougival garden" by Berthe Morisot belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#48
The Mézy Garden
In row 48, "Le Jardin de Mézy" by Berthe Morisot belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#49
In the park
In row 49, "In the park" by Berthe Morisot belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#50
The painter and his model in a flower garden
In row 50, "The painter and his model in a flower garden" by Marie Bracquemond belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Stand-alone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#51
Pierre and his aunt Louise in the garden
In row 51, "Pierre and his aunt Louise in the garden" by Marie Bracquemond belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#52
The garden of rue Cortot, Montmartre
In row 52, "The garden of rue Cortot, Montmartre" by Pierre-Auguste Renoir belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#53
Meeting in the garden
In row 53, "Reunion in the garden" by Pierre-Auguste Renoir belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and space plant. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#54
Woman with parasol in a garden
In row 54, "Woman with parasol in a garden" by Pierre-Auguste Renoir belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#55
Olives in the Collettes garden
In row 55, "Oliviers in the Collettes garden" by Pierre-Auguste Renoir belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#56
The Family in the Garden. Grand Lemps
In row 56, "The Family in the Garden. Grand Lemps" by Pierre Bonnard belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#57
Woman sewing in a garden (with children)
In row 57, "Woman sewing in a garden (with children)" by Pierre Bonnard belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#58
Table set in a garden
In row 58, "Table set in a garden" by Pierre Bonnard belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and space plant. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#59
Morning in the garden in Vernonnet
In row 59, "Morning in the garden in Vernonnet" by Pierre Bonnard belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and space plant. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#60
Mediterranean garden
In row 60, "Mediterranean Garden" by Pierre Bonnard belongs to the chapter devoted to inhabited gardens and public parks. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the relationship between figures, sociability, rest and plant space. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
View product →Caillebotte, Klimt, Pissarro, Sisley and Munch give the plantations, seasons and flowering their own architecture.
#61
The Entrance to the Garden, Petit-Gennevilliers
In row 61, "The Entrance to the Garden, Petit-Gennevilliers" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#62
Dahlias, Petit Gennevilliers Garden
In row 62, "Dahlias, Jardin du Petit Gennevilliers" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations and the seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#63
Blue irises, Petit Gennevilliers garden
In row 63, "Blue Iris, Petit Gennevilliers garden" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#64
Wild garden at Petit Gennevilliers
In row 64, "Wild garden at Petit Gennevilliers" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations and the seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#65
Roses in the garden at Petit Gennevilliers
In row 65, "Roses in the garden at Petit Gennevilliers" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or flower bed organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#66
Orchard, flowering trees, Petit Gennevilliers
In row 66, "Overcup, flowering trees, Petit Gennevilliers" by Gustave Caillebotte belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#67
Flower garden
In row 67, "Flower Garden" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the colored masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#68
Sunflower garden
In row 68, "Sunflower Garden" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the colored masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#69
Garden path with chickens
In row 69, "Garden path with chickens" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the masses colorful. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#70
Avenue in Schloss Kammer Park
At row 70, "Avenue in the park of Schloss Kammer" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, the seasons and the colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#71
Park at Kammer Castle
In row 71, "Park at Kammer Castle" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the masses colorful. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#72
Orchard with rose bushes
In row 72, "Overage with rose bushes" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the colored masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#73
Fruit orchard
In row 73, "Fruit orchard" by Gustav Klimt belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the colored masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#74
Le Verger in Maubuisson, Pontoise
In row 74, "Le Verger à Maubuisson, Pontoise" by Camille Pissarro belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, the seasons and the colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#75
The Vegetable Garden and flowering trees, spring, Pontoise
In row 75, "The Vegetable Garden and the Flowering Trees, Spring, Pontoise" by Camille Pissarro belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or flower bed organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#76
A garden in Louveciennes
In row 76, "A garden in Louveciennes" by Alfred Sisley belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the masses colorful. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#77
The orchard in Moret-sur-Loing, spring
In row 77, "The orchard in Moret-sur-Loing, spring" by Alfred Sisley belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, the seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#78
apple garden
In row 78, "apple garden" by Edvard Munch belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the structure of the plantations, the seasons and the colored masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#79
Cherry blossom and Young Girls in the garden
In row 79, "Cherry Tree in Flower and Young Girls in the Garden" by Edvard Munch belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or flower bed organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, seasons and colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The ranking brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#80
Spring in Dr. Linde's garden
In row 80, "Spring in Dr Linde's Garden" by Edvard Munch belongs to the chapter devoted to orchards, vegetable gardens and flower gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or flower bed organizes the depth and does not only serve as a secondary setting. The view must notably follow the structure of the plantations, the seasons and the colorful masses. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
View product →Van Gogh, Bonnard, Vuillard, Le Sidaner, Liebermann, Matisse, Klee, Macke and Kandinsky transform the garden into memory, rhythm or symbol.
#81
The Lovers: The Poet's Garden IV
In row 81, "Les Amants: Le Jardin du Poète IV" by Vincent van Gogh belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The look must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#82
The garden of the Saint-Rémy asylum
In row 82, "The garden of the Saint-Rémy asylum" by Vincent van Gogh belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The look must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#83
The garden of Saint-Paul hospital ("The fall of the leaves")
In row 83, "The garden of the Saint-Paul hospital ("The fall of the leaves")" by Vincent van Gogh belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation from the garden to interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#84
The Garden of Doctor Gachet in Auvers
In row 84, "The Garden of Doctor Gachet in Auvers" by Vincent van Gogh belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
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#85
Entrance to the public park in Arles
In row 85, "Entrance to the public park in Arles" by Vincent van Gogh belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#86
Decorative panels - Women in the garden
In row 86, "Decorative panels - Women in the garden" by Pierre Bonnard belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The look must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#87
Public gardens: little girls playing
In row 87, "Public gardens: little girls playing" by Édouard Vuillard belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#88
The Garden in Amfreville
In row 88, "Le Jardin à Amfreville" by Édouard Vuillard belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#89
The table on the flower garden at dusk, Gerberoy
In row 89, "The table on the flower garden at dusk, Gerberoy" by Henri Le Sidaner belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The view must notably follow the transformation of the garden in interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#90
The garden of the Gerberoy house
In row 90, "The garden of the Gerberoy house" by Henri Le Sidaner belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The look must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#91
The Birch Alley in the Wannsee Garden to the west
In row 91, "The birch avenue in the Wannsee garden to the west" by Max Liebermann belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden with interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#92
Terrace in the garden near Wannsee to the northwest
In row 92, "Terrace in the garden near the Wannsee towards the northwest" by Max Liebermann belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden with interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and landscape built. Standalone bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#93
Corner of the Garden, Alcazar, Seville
In row 93, "Coin du Jardin, Alcazar, Seville" by Joaquin Sorolla belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary decor. The look must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#94
Nap in the garden
In row 94, "Sieste dans le jardin" by Joaquin Sorolla belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#95
Young Girls in the garden
In row 95, "Young Girls in the Garden" by Henri Matisse belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#96
Luxembourg Gardens
In row 96, "Jardins du Luxembourg" by Henri Matisse belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must in particular follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#97
Magic garden
In row 97, "Magical Garden" by Paul Klee belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#98
Bird garden
In row 98, "Bird Garden" by Paul Klee belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The gaze must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and built landscape. Autonomous bouquets, photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#99
Garden on the shores of Lake Thun
In row 99, "Garden on the shores of Lake Thun" by August Macke belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The look must notably follow the transformation of the garden into an interior decor, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a constructed landscape. The bouquets standalone photographs, posters, prints, duplicates, false results and Asian works were excluded.
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#100
In the Saint-Cloud park - Autumn II
In row 100, "In the park of Saint-Cloud - Autumn II" by Wassily Kandinsky belongs to the chapter devoted to modern, intimate and imaginary gardens. The garden constitutes a real pictorial space: path, pond, terrace, park, orchard or massif organizes the depth and does not only serve as a secondary setting. The look must notably follow the transformation of the garden into decor interior, rhythm or symbol. Foliage, architecture, figures and luminous gaps make up a precise geography where nature is already chosen, cultivated and staged. The classification brings together private gardens, public parks, artists' estates, orchards, vegetable gardens and imaginary visions in order to show how each era redefines the relationship between painting and a built landscape. THE standalone bouquets, photographs, posters, prints, duplicates, fake results and Asian works were excluded.
View product →What the ranking reveals
One hundred paintings, three ways to build a garden
The painted garden organizes nature, welcomes figures and records the seasons. His interest lies as much in botany as in the relationships between depth, light and social use.
The driveway gives direction
Paths, borders, walls and pergolas lead the gaze while dividing the space into cultivated areas.
Flowering measures time
Iris, roses, sunflowers, apple trees and chrysanthemums locate the season and modify the colored density of the painting.
The garden becomes an exterior interior
Benches, tables, terraces and fences allow painters to treat the garden as a room open to the sky.
A Western history of the painted garden
Five landmarks to follow the cultivated landscape
The Garden of Delights combines vegetation, architecture, body and imagination in a space impossible to reduce to a simple decor.
Women in the Garden gives the outdoors, dresses and plant shadows the ambitious scale of a large composition.
The Argenteuil garden becomes both a place of sociability, an open-air workshop and a subject shared between artists.
In Arles, Saint-Rémy and Auvers, parks, asylums and gardens become networks of touches, colors and memory.
Monet shapes his water garden then paints it in series, until it dissolves the bank, sky and depth in the Water Lilies.
Deeply painted gardens
Why is the garden a major subject of painting?
The garden occupies a unique place between landscape and interior. It belongs to nature, but its paths, fences, ponds and plantations reveal a human will. The painter therefore works on a space already composed before even placing his easel.
With The Garden of Delights, Bosch makes the garden a total world, populated by bodies, plants and imaginary architecture. The gardens of Eden of Brueghel or Cranach extend this idea of a space where vegetation, story and symbol merge.
In the 19th century, the garden became an outdoor laboratory. Monet painted Camille in Argenteuil, then built a garden in Giverny whose pond, irises and water lilies became a parallel work to his painting. Pissarro observes vegetable gardens and orchards; Renoir, Manet, Morisot, Cassatt and Bracquemond inscribe modern life there.
Van Gogh transforms the gardens of Arles, Saint-Rémy and Auvers into networks of touches and colorful tensions. Caillebotte methodically studies massifs, dahlias, irises and vegetable gardens; Klimt gives sunflowers and orchards an almost ornamental density.
In the 20th century, Bonnard and Vuillard brought the garden and domestic intimacy closer together, Le Sidaner suspended tables and roses in the twilight, while Klee, Macke, Matisse and Kandinsky transformed the plant layout into rhythm, sign and memory of color.
Four reading keys
How to look at a painted garden
Plot, season, use and light allow us to understand how a cultivated space becomes a composition.
Follow the lines of the garden
Walkways, walls, hedges and pools reveal the organization hidden beneath the plant abundance.
Identify blooms
Colors and species indicate a time of year, but also a touch speed and a pictorial range.
Observe the inhabitants
Walking, reading, working or eating show whether the garden is public, family, productive or contemplative.
Compare shade and full sun
The foliage filters the light, cuts out the figures and gives each plot its depth.
Paints, products and references
Continue in the Famous Landscapes collection
Frequently asked questions
The garden painted without pretense
The essential benchmarks for understanding the classification, its western perimeter and the links to reproductions.
How were the hundred gardens classified?
The first twenty places bring together the most recognized images. The following four chapters organize the route by issues: impressionist gardens, inhabited gardens, orchards and plantations, then modern and imaginary visions. Rank guides reading without claiming to measure an absolute value.
What's a real garden painting?
The garden must organize space, light or action. A figure may be present, but the driveway, pond, terrace, orchard or plantings should not remain a simple interchangeable background.
Why does Monet play an important role?
Because he painted the gardens of Argenteuil and Vétheuil before designing that of Giverny as a real living workshop. The paths, the pool, the irises and the water lilies allow him to constantly study light and reflections.
Does the classification only contain paintings?
Yes. Photographs, posters, stand-alone prints, sculptures and objects have been excluded. The selected sheets belong to the store's catalog of pictorial reproductions.
Are simple bouquets included?
No. A still life of flowers is not enough: the garden, the park, the orchard or the massif must be represented as a space. The Iris of Van Gogh are retained because of their direct link with the garden of the Saint-Rémy asylum.
Are there any Asian works?
No. The perimeter follows only European and American traditions, in accordance with the Asian exclusion order.
Do the images exactly match the products?
Yes.
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