Silvère Jarrosson, who resided for three months at Giverny, was keen to give meaning to the somewhat porous divide between figuration and abstraction, which Claude Monet was one the first to explore.
While in his Nymphéas, Monet pushed his study of nature to the limit of abstraction, Silvère Jarrosson was engaged in the reverse process: starting off from abstraction, he gradually moved closer to a figuration of natural shapes. The living world is constantly evolving and ceaselessly pushing the limits of reality, giving genuine existence to abstract or unknown shapes. By travelling in the opposing direction to the master, one is able to paint a place so far removed from representation, an impression of nature that is potentially figurative despite being far from reality.
Rather than considering the natural world as a set of recognisable shapes and colours, a choice was made here to consider it as a phenomenon by which nature takes life, which the painter seeks to reproduce in order to represent nature. This is, admittedly, a very different approach from that of the Impressionists, yet it is essentially similar , since precise representation is neglected in favour of the phenomenon (optical with the Impressionists, biological for Silvère Jarrosson).
This residence coincided with ‘The Water Lilies. The American Abstract Art and the Last Monet’, an exhibition that took place at the Musée de l’Orangerie in Paris. It provided an opportunity to study how the last ten years of Monet’s work witnessed the beginning of a fresh representation of nature—not yet fully explored.