Monet’s last works, which are easel paintings, evince a certain roughness in the application of the colors, in contrast with the more subtle nuances of earlier pieces. In these last paintings of the garden, many of them undated, it is difficult to say whether or not the work is finished, since the motif is almost undecipherable. In a way, these pieces also reflect the artist’s sight, which had been affected by the cataract diagnosed a few years earlier. In this Japanese Bridge, the overflowing color and the dynamism of the vertical strokes of paint, which seem to suggest that the flowers have bloomed, give the canvas an almost abstract quality. What is important to Monet here is the light, the air, and all the things that come between his subject and his eye. This idea of painting not what is seen, but seeing itself, opened a path to modernism, making Monet a pioneer.