Mad Enchantment: Claude Monet and the Painting of the Water Lilies (58 page)

Many other people responded to my pleas for help. Mark Asquith was once again among my first readers, giving the manuscript the benefit of his perceptive and quizzical attention. A good friend for the past twenty years, Mark is in many respects my “ideal reader” whose impeccable literary instincts I have come to rely on. Two other friends,
Anne-Marie Rigard-Asquith and Frederike Mulot, offered valuable advice on some of the knottier translations.

For help with other points and problems, or for supplying information, I thank Camille Bidaud (Université Paris-Est); Corinne Charlery (Archives Municipales, Chatou); Danielle Chapelin (Secrétariat de Histoire et Patrimoine de Saint-Étienne); Yann Harlaut; Mark Levitch; Claire Maingon (Université de Rouen); Bernard Rivatton (Musée du Vieux Saint-Étienne); Jean-Michel Peers; Cyrille Sciama (Musée des Beaux-Arts de Nantes); and Dieter Schwarz (Kunstmuseum, Winterthur). I also thank my friend Jean Glasel—like Monet, a Norman by inclination if not quite by birth—for giving me the opportunity to conduct a group tour to Giverny in 2010, and so to begin thinking in earnest about the stories and paintings I would begin exploring in this book.

My research would not have been possible without the prodigious collections and generous staff of two great libraries where it is always a pleasure to work: the London Library and, in Oxford, the Sackler Library. I was also the beneficiary of the technological wonder that is Gallica, the online digital library of the Bibliothèque nationale de France, which permitted me the pleasure of reading one-hundred-year-old newspapers from the comfort of the studio at the bottom of my garden in Oxfordshire.

For turning my manuscript into a book I thank the wonderful teams at Bloomsbury in New York and London. Linda Johns did a superb job of identifying and tracking down the images for the book, and Jeff Ward created all the maps. I am grateful to the painstaking attention to detail shown by Gleni Bartels; my copyeditor, David Chesanow; my proofreader, Megha Jain; and to Lee Gable for the index. For the cover of the North American edition, I was fortunate to have Patti Ratchford as my designer, and for the UK cover, David Mann. The interior was designed by Sara Stemen. I also thank, among others in the London office, Michael Fishwick, Vicky Beddow, Rachel Nicholson, Marigold Atkey, Rebecca Thorne, and Laura Brooke, and among those on the American team, Laura Keefe, Sara Mercurio, and Callie Garnett. For their efforts
on my behalf in Canada, I thank the marvellous people at Doubleday with whom I’ve been fortunate to work for much of the past ten years: Kristin Cochrane, Amy Black, Sheila Kay, Martha Leonard, and Brad Martin.

I am indebted, as always, to my agent, Christopher Sinclair-Stevenson, who not only read the manuscript carefully—as he always does—but who also, along with his wife, Deb, is a constant source of good conversation and entertaining companionship.

The last stages of work on the manuscript were completed while I was the 2015 writer-in-residence at L’Ancienne-Auberge in the beautiful hilltop village of Puycelsi. I thank Dorothy and David Alexander for their generous hospitality, and also Danny Lewis for kindly providing me with Internet access during my stay. I would never have known of this splendid opportunity for writing and relaxation had it not been for my friend Prajwal Parajuly, a previous writer-in-residence, and I heartily thank him for recommending me. My wife, Melanie, was my fellow writer-in-residence in Puycelsi, which made the experience even more rewarding. Melanie was, as ever, a constant source of enthusiasm and encouragement for my research and writing—and equally important, a welcome and healthy distraction from it.

Finally, I thank my brothers and sisters and their families. All of us have come a long way over the past few years. Our mother, Claire King, passed away during the course of my work on this book, and she is very much in my thoughts as I finish it. I dedicate it to her in gratitude for her lifetime of humor, inspiration, encouragement, and love.

IMAGE CREDITS

Every effort has been made to contact all copyright holders. If notified, the publisher will be pleased to rectify any errors or omissions at the earliest opportunity.

All page numbers refer to the print edition.

INTERIOR IMAGES

Pages ix
,
x
: maps © Jeff Ward

Pages 7
,
51
,
52
: © Bridgeman Images

Pages 22
,
25
,
62
,
90
,
122
,
134
,
162
,
181
,
232
,
244
,
253
,
278
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282
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288
: © Getty Images

Page 221
: © Archives Durand-Ruel © Durand-Ruel & Cie

PLATE SECTION

Pages 1
(top and bottom),
2
,
3
,
4
(top): Photograph by DeAgostini/Getty Images

Page 4
(bottom): Image courtesy Saint Louis Art Museum, funds given by Mrs. Mark C. Steinberg

Page 5
: © Foundation Claude Monet, Giverny

Pages 6
: Photograph by National Museum Galleries of Wales Enterprises Limited/Heritage Images/Getty Images

Page 7
: Photograph by Fine Art Images/Heritage Images/Getty Images

Page 8
(top): © 2016 Succession H. Matisse/Artists Rights Society (ARS) New York

Page 8
(bottom),
9
(top),
11
(bottom): © Bridgeman Images

Page 9
(bottom): Photograph © Museum of Fine Arts, Boston. All Rights Reserved

Page 10
: © Kimbell Art Museum, Fort Worth

Page 11
(top): © Musée d’Art Moderne de Saint-Etienne Métropole

Page 12
: Photograph by Photo IZ/UIG/Getty Images

Page 13
: © Getty Images

Page 14
: Photograph by Hubert Fanthomme/Paris Match via Getty Images

Page 15
: Photograph by View Pictures/UIG via Getty Images

Page 16
: Photograph by Chesnot/Getty Images

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Matisse and Picasso: The Story of Their Rivalry and Friendship
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The Great War and Modern Memory
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