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Tranquil Bedtime Story _ Monet_s Garden _ Garden Sleepy Story · Abide Meditation App

• 0:01
  Speaker 1: Welcome to Get Sleepy, the podcast where we listen, we relax,
• 0:08
  Speaker 1: and we get sleepy. I'm your host, Thomas. Thanks so
• 0:16
  Speaker 1: much for tuning in. It's a pleasure to have your company.
• 0:23
  Speaker 1: Tonight's story is one we decided to create after several
• 0:27
  Speaker 1: of you wonderful listeners requested it. It's all about the
• 0:32
  Speaker 1: artist Claude Monet, whose work is known for its picturesque
• 0:38
  Speaker 1: nature scenes. But you may not have known that many
• 0:43
  Speaker 1: of his paintings were created in his own garden. For
• 0:49
  Speaker 1: this reason, Monet's garden may have brought more tranquility to
• 0:53
  Speaker 1: the world than any other place on earth. Tonight, Claude
• 1:00
  Speaker 1: will show us around his garden, and we'll watch as
• 1:04
  Speaker 1: he creates a masterpiece on canvas. We always love hearing
• 1:12
  Speaker 1: your ideas for the podcast, so please never hesitate to
• 1:17
  Speaker 1: get in touch if you want to send some feedback
• 1:20
  Speaker 1: or share a story idea. You can do so via
• 1:25
  Speaker 1: the contact page on our website, That's getsleepy.com. So now,
• 1:36
  Speaker 1: let's get ready for our story. Begin by taking a
• 1:43
  Speaker 1: deep breath in through the nose. And slowly release out
• 1:53
  Speaker 1: through the mouth. Allow yourself to sink gently into the
• 2:02
  Speaker 1: bed and feel the warmth spreading through your body. It
• 2:15
  Speaker 1: reaches each and every part of you, soothing your muscles,
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  Speaker 1: softening the space around your bones. and nourishing your body, mind,
• 2:34
  Speaker 1: and soul. It feels like sunlight, like the warmth of
• 2:46
  Speaker 1: a perfect spring morning. And it was on a perfect
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  Speaker 1: spring morning like this, that Claude Monet, one of the
• 3:00
  Speaker 1: great Impressionist painters, could be found in his garden, gently
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  Speaker 1: swirling his brush and dabbling strokes of pigment across a
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  Speaker 1: white canvas. So let's go and join him. The birds
• 3:52
  Speaker 1: sing sweetly in the cherry and apple trees as a
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  Speaker 1: straw-hatted Claude Monet opens the door to his home. He
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  Speaker 1: steps outside, stroking his long grey beard and scans the
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  Speaker 1: Klo Norman, his grand garden. The petals of newly budded flowers, pink, violet, white,
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  Speaker 1: and red, are glistening with dew. He smiles, satisfied with
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  Speaker 1: the view, and reaches down to grab a small leather satchel,
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  Speaker 1: and a wooden easel. Down the gravel path he walks,
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  Speaker 1: stopping in front of an enthusiastic row of peonies. With
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  Speaker 1: a squint of his eye, Monet scans the pink blooms,
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  Speaker 1: noting their tightly packed petals. A honeybee drones softly nearby,
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  Speaker 1: The air, though still cool, warms up with every moment. Yes,
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  Speaker 1: Monet thinks, this will be today's painting site. Monet opens
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  Speaker 1: his collapsible wooden easel, steadying its tripod legs atop the
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  Speaker 1: grey gravel path. he bends down to his satchel and
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  Speaker 1: opens it, uncovering short-haired paintbrushes, a wooden palette for mixing colors,
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  Speaker 1: and several tubes of oil paint. Even now, 40 years
• 6:00
  Speaker 1: after its invention, Monet is still enamored with the portability
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  Speaker 1: of paint tubes. The ease of use of these paints
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  Speaker 1: means he can work outside quickly, squeezing ribbons of paint
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  Speaker 1: across his canvas or combining them upon his palette. Painting outside,
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  Speaker 1: what artists call en plein air, was one of Monet's
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  Speaker 1: specialities since his early days. the young artist spent hours
• 6:41
  Speaker 1: staring across the beaches and docks of his hometown, Le Havre,
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  Speaker 1: in the Normandy region of France. He noticed how the
• 6:56
  Speaker 1: colours of the ocean morphed as the day progressed, or
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  Speaker 1: as the weather changed. Imagine the aquamarine or teal waves
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  Speaker 1: of a bright summer's day, or the gunmetal grey signalling
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  Speaker 1: an approaching storm. Think of the vast navy expanse of
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  Speaker 1: the sea at dusk, or its utter blackness at midnight.
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  Speaker 1: Monet studied these changes and attempted to capture these fleeting
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  Speaker 1: variations and transformations in his paintings, with some even painted
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  Speaker 1: right there on the beach. He sought to represent impressions,
• 7:51
  Speaker 1: even titling one of his most famous canvases, Impression, Sunrise,
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  Speaker 1: in 1872. when a Parisian art critic later commented that
• 8:06
  Speaker 1: Monet and his fellow artists were impressionists, the name stuck.
• 8:14
  Speaker 1: And though it was originally meant to be a disparaging name,
• 8:18
  Speaker 1: Monet and his friends, like Pierre-Auguste Renoir, Berta Morisot, and
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  Speaker 1: Camille Pizarro, loved it. They painted their impressions, moment by moment,
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  Speaker 1: day by day. Today, Monet smiles, taking in a deep,
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  Speaker 1: calming breath. As he admires today's painting location, he recalls
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  Speaker 1: his first glimpses of the land that was to become
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  Speaker 1: his home. his personal paradise. In the early 1880s, Claude
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  Speaker 1: Monet boarded a train that meandered slowly through the French
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  Speaker 1: countryside west of Paris, through golden wheat fields ploughed by
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  Speaker 1: horse cart, and past half-timbered houses with thatched roofs. About
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  Speaker 1: fifty miles west of the French capital, Monet glanced out
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  Speaker 1: his window and spotted the hamlet of Giverny, nestled at
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  Speaker 1: the confluence of the Epta and Seine rivers. Monet, in
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  Speaker 1: his obsession with light, watched the sun's rays shimmer across
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  Speaker 1: the river in small ripples, and saw it reflect up
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  Speaker 1: casting a delicate glow on the leaves of an apple
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  Speaker 1: tree nearby and it was at that moment that he
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  Speaker 1: realized he was home in 1883 Monet moved his family
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  Speaker 1: to Giverny and rented a cottage and a parcel of land,
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  Speaker 1: which he slowly transformed into a serene, botanical paradise. He
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  Speaker 1: expanded the small cottage into a single long building to
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  Speaker 1: provide more space for his family and art studio, and
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  Speaker 1: painted it brightly to appeal to the eye. a pastel
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  Speaker 1: pink for the home's exterior and a vivid green for
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  Speaker 1: many of its shutters and windows. At the front of
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  Speaker 1: the home, Monet planted climbing roses upon a pergola that
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  Speaker 1: stretched the length of the facade and Virginia Creeper across
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  Speaker 1: the pale walls. In the summertime, the house... Both then
• 11:20
  Speaker 1: and now blends with the landscape surrounding it. Pink and
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  Speaker 1: green meet the eye in every direction. Though the house
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  Speaker 1: was the centerpiece of Monet family life, it was its
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  Speaker 1: accompanying gardens that filled the artist with true joy and peace.
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  Speaker 1: The land surrounding the Giverny cottage was originally a farming plot,
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  Speaker 1: spare and unstructured. But Monet wanted flowers in a swirl
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  Speaker 1: of colour and texture that he could paint all year,
• 12:04
  Speaker 1: so he planted his gardens accordingly. Red poppies with their
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  Speaker 1: paper-like petals rustling in a springtime gust Sunflowers arching their
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  Speaker 1: yellow and black faces towards the summertime sun, and black-eyed
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  Speaker 1: Susans vying for the last bright afternoons of autumn, before
• 12:31
  Speaker 1: the chill of winter falls upon Normandy. Monet often chose
• 12:39
  Speaker 1: to plant his gardens based on appearance and colour, as
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  Speaker 1: you might expect of an artist. prioritizing beauty above all.
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  Speaker 1: By the early 1890s, he had attained enough wealth to
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  Speaker 1: purchase the Giverny homestead and its surrounding lands, and he
• 13:04
  Speaker 1: set out to transform his now permanent home into the
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  Speaker 1: botanical paradise he imagined. In his mind's eye, Monet pictured
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  Speaker 1: raised beds overgrown with flowers, savoring the wildness of nature
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  Speaker 1: running its own course. It was a stark contrast from
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  Speaker 1: traditional French ornamental gardens, which were established in strict lines
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  Speaker 1: and spacing. Monet's garden, instead, would grow freely in an
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  Speaker 1: abundance of contrasting tones and textures. He would plant humble flowers,
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  Speaker 1: like sweet white and yellow daisies, next to ornamental Japanese
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  Speaker 1: apricot trees. Green metal trellises arched across a gravel walkway,
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  Speaker 1: providing a climbing path for much beloved roses. he could
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  Speaker 1: already smell the heady scent of those roses, freshly in bloom.
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  Speaker 1: His garden would become known as the Clos Normand, a
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  Speaker 1: potent attraction for the artist then and the tourist now.
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  Speaker 1: Monet would spend hours tending to his beloved plants, and
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  Speaker 1: when he wasn't, he was painting them, Now, today, on
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  Speaker 1: this crisp spring morning, Monet's plants are all happy and flourishing,
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  Speaker 1: having enjoyed a light evening shower the night before. He
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  Speaker 1: has no tending to do, so it's time for a painting.
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  Speaker 1: Before he mixes the colours on his wooden palette, Monet
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  Speaker 1: must prepare the canvas's ground, The ground is an even,
• 15:21
  Speaker 1: smooth layer of light paint, usually a lead white or
• 15:26
  Speaker 1: a very light grey, applied to the entirety of an
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  Speaker 1: impressionist's canvas. Oil paint, by nature, is mildly transparent, and
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  Speaker 1: when colours are applied atop this light ground, They appear
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  Speaker 1: brighter than on a duller, unprimed canvas. This was a
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  Speaker 1: hallmark of Impressionism, the brightness of paintings. They seemed to
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  Speaker 1: glow from within. After applying the thin layer of lead white,
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  Speaker 1: Claude turns his attention once again to the peonies. analyzing
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  Speaker 1: the shape of every curling leaf, the way the flower's
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  Speaker 1: interior is shaded or turned towards the sunlight, and the
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  Speaker 1: woody texture of the stem. His observation is constant, and
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  Speaker 1: unless he pauses to clean a brush, he will look
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  Speaker 1: at these flowers every two or three seconds. Finally, he
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  Speaker 1: is ready to begin, and he dips his first paintbrush
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  Speaker 1: down across his palette. For an artist of such breadth
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  Speaker 1: and experience, you might imagine Monet's palette overflowing with a
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  Speaker 1: variety of paint colours. But this is not the case.
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  Speaker 1: With only nine proven colours at his side, Monet could
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  Speaker 1: mix them to produce any conceivable shade, a true sign
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  Speaker 1: of his mastery. It's this deep understanding of chemistry, optics,
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  Speaker 1: and colour theory that made his paintings indelible for viewers.
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  Speaker 1: This morning, he glances again at the peonies in the
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  Speaker 1: Clos Normand. They stand elegantly, pink, luscious and fragrant. Monet
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  Speaker 1: smiles and swirls his paintbrush in madder red, his chosen
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  Speaker 1: crimson tone, before adding in a dollop of lead white.
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  Speaker 1: The colours meld into one another as Monet glances up
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  Speaker 1: again at the flower, He sighs. The colour is not
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  Speaker 1: quite right, but it's no bother. Another glance is all
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  Speaker 1: it takes to verify that his real-life peonies have a
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  Speaker 1: slight purple tinge to them. Down the palette he scans
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  Speaker 1: until he finds a small pool of French ultramarine, a
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  Speaker 1: vibrant blue. swirl, swirl, swirl, until his paintbrush resembles the
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  Speaker 1: cacophony of blooms before him. And then, the magic begins.
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  Speaker 1: On the primed white canvas, Monet drags his newly pigmented paintbrush,
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  Speaker 1: its bristles making a pleasant scratching sound across the surface
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  Speaker 1: of the canvas. Every brushstroke is small, every move precise.
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  Speaker 1: Each repetitive dab slowly transforms into something identifiable, a single
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  Speaker 1: petal of an abundant bloom. The process is leisurely, mindful even,
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  Speaker 1: and Monet notices that his breath matches the gentle movements
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  Speaker 1: of his brushes. Dab. Inhale. Swipe. Exhale. As the moments pass,
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  Speaker 1: Monet changes the texture of his brush strokes, occasionally adding
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  Speaker 1: larger dollops of paint, or thinning other areas out. The
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  Speaker 1: surface is uneven and is thus more alive, causing the
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  Speaker 1: eye to flutter across it. Soon there will be very
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  Speaker 1: little space for an optical reprieve. Every nook with shine colour,
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  Speaker 1: bright chrome yellow in a shower of sunlight, lush emerald
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  Speaker 1: green in the vines of climbing roses, a delectable concoction
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  Speaker 1: of vermilion, cobalt blue, and lead white to approximate the
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  Speaker 1: large-petalled clematis. Small areas of contrast scattered throughout the work
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  Speaker 1: make those colours pop even brighter. a hint of green
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  Speaker 1: next to a red rose, a purple shadow opposite a
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  Speaker 1: golden sunflower. The basis of this painting will be completed
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  Speaker 1: this morning, here in the Clos Normand. Monet might add
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  Speaker 1: to it in his studio this evening, or he may
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  Speaker 1: deem it a finished product one of the many created hastily,
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  Speaker 1: but confidently, throughout his adult life. In all, it is
• 21:46
  Speaker 1: believed that Claude Monet produced over 2,000 paintings, drawings, and pastels,
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  Speaker 1: though the exact number may never be known. He occasionally
• 21:59
  Speaker 1: burned or destroyed works in which he found fault. Today's
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  Speaker 1: painting is deemed a successful one, however, and Monet smiles,
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  Speaker 1: stopping to admire his handiwork, while dabbing a cotton handkerchief
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  Speaker 1: on his damp forehead. He reaches down to caress the
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  Speaker 1: soft petals of a peony bloom before gently raising his
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  Speaker 1: satchel to his shoulders. Right now, it's time for a
• 22:38
  Speaker 1: break and a relaxing stroll through his expansive gardens. His
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  Speaker 1: wooden easel remains here, though. Monet will return to it
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  Speaker 1: later this afternoon to reproduce those same pink peonies in
• 22:57
  Speaker 1: the fading light of dusk. Pulling one of those famous
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  Speaker 1: Normandy apples from his satchel, Monet saunters down a path
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  Speaker 1: that runs through the Clos Normand and perpendicular to a
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  Speaker 1: small road. He takes a deep breath, slowing his heartbeat
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  Speaker 1: for a moment, before biting into the crisp red fruit.
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  Speaker 1: The taste fills him with joy and he savors the
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  Speaker 1: sensation of tart and sweet juices while glancing across the
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  Speaker 1: road to his next destination. The vision brings him back
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  Speaker 1: several years prior to a moment when he transformed his
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  Speaker 1: garden even further into something inventive, grand, and inspired. The
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  Speaker 1: clone Norman, with its strategic planning for year-long blooms and
• 24:11
  Speaker 1: visual interest, originally provided Monet with years of artistic fodder.
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  Speaker 1: It was his great joy, his personal treasure, and yet,
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  Speaker 1: he still wanted more. More inspiration. More flowers. Maybe even
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  Speaker 1: another garden, perhaps. Across the road from his home, there
• 24:41
  Speaker 1: was a marsh. A plot of land, unused except as
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  Speaker 1: a watering hole by roaming cattle. Once again, Monet's fertile
• 24:54
  Speaker 1: imagination sprang to life. On the swampland, he envisioned a
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  Speaker 1: floating garden, a pond filled with aquatic plants. The inspiration
• 25:11
  Speaker 1: for such a garden most likely came from Monet's love
• 25:15
  Speaker 1: of Japanese culture, a genuine fascination that was shared by
• 25:22
  Speaker 1: many in Western Europe during the last decades of the
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  Speaker 1: 19th century. He had discovered Asian water gardens in Japanese prints,
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  Speaker 1: which he collected with nearly as much fervor as he
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  Speaker 1: did plants for the Clos Normand. Within a few years,
• 25:46
  Speaker 1: Monet had amassed over 200 Japanese woodblock prints. A floating
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  Speaker 1: garden would be the perfect combination of all that he
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  Speaker 1: loved most. botany, culture, and of course, art. By 1893,
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  Speaker 1: Monet had purchased the much-coveted parcel of land and began
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  Speaker 1: the arduous process of transforming it into a water garden.
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  Speaker 1: By 1895, it already resembled the famous locale that he
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  Speaker 1: is venturing to today, crossing the road and clambering down
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  Speaker 1: to his Japanese water garden. Lush weeping willows cascade downward
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  Speaker 1: over a serene pond. Woody green bamboo lines the water
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  Speaker 1: Japanese maples and Asian varieties of peonies and wisteria provide
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  Speaker 1: pops of colour. Here, Monet elegantly connected Asian culture and
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  Speaker 1: design with that of Normandy. Most notable was Monet's commissioning
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  Speaker 1: of two curved Japanese bridges. which gracefully crest above the
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  Speaker 1: water in delicate arches. Unlike their traditional counterparts, which are
• 27:33
  Speaker 1: typically painted red, Monet painted his bridges a bright blue-green.
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  Speaker 1: The Japanese bridge itself would later become a focal point
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  Speaker 1: for a series of paintings representing its curves in all seasons,
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  Speaker 1: and atmospheric conditions. The fiery foliage of fall and the
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  Speaker 1: mists of a cool winter morning. Though the bridge was
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  Speaker 1: truly a delight, a final element of the water garden
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  Speaker 1: soon took precedence, not only in Monet's mind, but in
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  Speaker 1: his art legacy, the water lilies. Standing at the water's edge,
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  Speaker 1: Monet glances down to the surface of the pond, counting
• 28:32
  Speaker 1: the endless green lily pads that have made their home here. Ten, twenty, thirty,
• 28:43
  Speaker 1: there's no way to count them all. Some showcase delicate
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  Speaker 1: purple lilies, and occasionally a small green frog. these water
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  Speaker 1: lilies have become Monet's singular focus. He tends to them
• 29:05
  Speaker 1: with the help of a full-time gardener. To friends, he
• 29:11
  Speaker 1: frequently proclaims that his water garden and those water lilies
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  Speaker 1: could send him into pure rapture. It is one of
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  Speaker 1: the primary reasons that now, And for the last 30
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  Speaker 1: years of his life, Monet rarely leaves Giverny. He much
• 29:35
  Speaker 1: prefers contemplating the water garden's changing colours on a spring
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  Speaker 1: day or analysing the surface of the pond after a
• 29:44
  Speaker 1: dusting from a winter snowstorm. He became fascinated not only
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  Speaker 1: with the change of light but how the slightest motion
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  Speaker 1: sent ripples along the surface of the pond, transforming the
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  Speaker 1: reflections of the water lilies into blurs of colour and
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  Speaker 1: indistinct form. Monet, with his ever-open eyes, now watches as
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  Speaker 1: a stiff breeze remakes the blue depths of the pond
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  Speaker 1: into a light grey pool. He notes that a fallen
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  Speaker 1: leaf briefly obstructs a view of the pond floor and
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  Speaker 1: sends black shadows beneath it. Every season, every day, every
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  Speaker 1: moment could bring a new artistic revelation. A new impression
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  Speaker 1: to spontaneously capture. It's no surprise then that he would
• 30:56
  Speaker 1: eventually paint over 250 images alone of these water lilies
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  Speaker 1: from his water garden. These canvases, collectively known as the Nymphias,
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  Speaker 1: are among the most prized of all of Monet's works.
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  Speaker 1: When we view his paintings today, It is sometimes easy
• 31:25
  Speaker 1: to forget their grandeur, their power, and their meaning. But
• 31:32
  Speaker 1: they left a significant legacy in an unsuspecting art world.
• 31:40
  Speaker 1: Impressionism inched art closer to abstraction than ever before. It
• 31:47
  Speaker 1: transformed notions of how light, colour, tone and texture could
• 31:54
  Speaker 1: be displayed and provided new ways to express emotions or
• 32:00
  Speaker 1: sensations within the physical confines of paint. In this way
• 32:09
  Speaker 1: Monet's paintings can certainly be viewed as masterpieces but we
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  Speaker 1: can consider his garden as a great masterpiece too. These
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  Speaker 1: gardens were, and are, works of art that inspired creations
• 32:29
  Speaker 1: of their own. And they continue to inspire artists in
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  Speaker 1: the present day. Today, though, Monet's thoughts are far from
• 32:44
  Speaker 1: his artistic legacy. He's immersed in the moment. in the
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  Speaker 1: gardens he has lovingly planted and will continue to lovingly paint.
• 32:59
  Speaker 1: Even now, the beauty of his surroundings still takes his
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  Speaker 1: breath away. After a day of painting and admiring his home,
• 33:13
  Speaker 1: the sun sets behind the willows over the water garden.
• 33:19
  Speaker 1: Monet rests against the sturdy trunk of a tree he
• 33:24
  Speaker 1: grew from infancy. He listens to the crickets chirp and
• 33:31
  Speaker 1: the frogs croak. The moon, looming lightly, will quiet the
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  Speaker 1: garden's usual riot of colour into permutations of blues, purples
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  Speaker 1: and greys. Soon it will be dark, so he stands
• 33:57
  Speaker 1: and makes his way back across the Japanese bridge, up
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  Speaker 1: the road to the Clos Normand in search of rest.
• 34:11
  Speaker 1: Monet takes a breath one more time so that he
• 34:16
  Speaker 1: can enjoy a final whiff of the flowers that surround him.
• 34:25
  Speaker 1: an owl hoots nearby as Moni pads up the gravel
• 34:30
  Speaker 1: path once more, heading into his house and closing the
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  Speaker 1: green door behind him. He says goodnight to his beloved garden,
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  Speaker 1: his deepest inspirations, knowing he'll return to it when morning comes.
• 36:15
  Speaker 1: you Amen. Thank you. Thank you. Thank you. Thank you.
• 41:18
  Speaker 1: Thank you. Thank you. Thank you. Thank you. Thank you.