It is not a secret that I am obsessed with nineteenth-century French art, but so are most people with an avid interest in art. Besides the extraordinary work produced, the interpersonal relationships are also highly interesting, both the rivalries and the mutual aid. Monet could not have survived without Bazille; the Impressionists probably would not have been shown without Caillebotte. Rodin both helped and undermined Camille Claudel. And, of course, what would have happened to Van Gogh without Theo?

In dawn of the 20th century in France was marked by a vibrant and transformative artistic landscape, with the Impressionist movement having laid a fertile ground for the emergence of diverse modern art expressions.1 At the heart of this era stood Claude Monet, a foundational figure of Impressionism, celebrated for his profound ability to capture the subtle nuances of light and his dedication to exploring singular subjects through extensive series of paintings. Among his most iconic works are those depicting water lilies, a subject with which his name became intrinsically linked in the public consciousness.

Not everyone would expect that the first paintings I did after my experience at Giverny would be a series of boxing paintings, but it was. 

When I returned to the States I called Teddy Atlas and asked if I could watch him train his new fighters (this was after his break from Cus d’Amato as Mike Tyson’s trainer.) One of his fighters had a fight coming up in Atlantic City and he thought I should photograph that. . .