Fortunately, besides what's on its website, the Kimball, for the first time in my recollection, allowed photography of a special exhibition.
And, so you can see, what you see at left is not totally your mother's Monet.
But that is a relatively early example of his transition beyond his mid-life water lilies.
It's still halfway your mother's Monet.
This, on the other hand? Is more definitely not your mother's Monet. This is after growth with cataracts had taken much of his vision, but it was completed in the year he had surgery, followed by special glasses lenses, that partially restored it.
You can see he's starting to swap out "normal" colors, as the scene isn't totally that red.
But that one is nothing.
He went more that way, with the pergola over his Chinese bridge made famous in older paintings.
Like this.
That's not your mother's Monet at all.
The display boards in this area of the exhibit, which has more than 50 paintings, many not seen in the United States before, said that it were as if he was moving in the direction of abstract expressionism.
It said this near a final pair of paintings of a weeping willow that he studied in late life as much as his Chinese bridge.
This is definitely not your mother's Monet.
And, yes, that's a weeping willow.
All pictures embiggen.
If you're anywhere near Fort Worth between now and mid-September, head to the Kimball.
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