Literature: Winfred Gaul. Catalog raisonné vol. II: Paintings 1962-1983, ed. by Lothar Romain, Düsseldorf 1993, p. 211, no. 1033.

In 1982/83, Winfred Gaul was intensively occupied with Claude Monet, which is reflected in works on Giverny - as in the "Besuch in Giverny" (Visit to Giverny) of 1982 or "Wintermorgen in Giverny" (Winter Morning in Giverny) of 1983 offered here - or in some fictional localizations of the Frenchman: "C. Monet in Cuzco" (1982), "... in Morocco" (1983), "... on Kilimanjaro" (1983), "... in Manhattan" (1983), which, in addition to a four-part painting, are all triptychs like the aforementioned "Visit to Giverny," the largest of these Monet homages. At first glance, the works have little to do with the Impressionist painter, but he picks up where Monet left off: "Just as there is no predominant formal scheme in my painting, so there is no 'typical' color tone that always recurs. Everything is possible and everything is played out: Primary colors, secondary colors and their combination, earth colors, mixed tones of white, black and chromatic colors." In addition, Gaul encounters Monet's late water lily paintings and the myth of Giverny full of empathy, which turns out to be surprisingly intense: the water lily series in the Orangerie gives him the "illusion ... of swimming in a sea of painting." And about Giverny one reads in Gaul: "... all these pictures of waving summer gardens, of poplars on the banks of the Seine, these cascades of green and blue and purple, this gray of a winter day shone through by orange, blue and pink .... are nothing other than the reproductions of a unique vision ... After having been to Giverny, one knows that all our dreams, memories and imaginings are determined by images that make reality seem stale and colorless."