This article examines the exhibition of works by Claude Monet organized by the Nakanoshima Museum of Art (Osaka, Japan) as part of its program commemorating the 150th anniversary of the First Impressionist Exhibition (1874). The aim of the study is to analyze how curatorial practices present Monet’s oeuvre within the framework of the dialogue between Western Impressionism and the Japanese artistic tradition. Methodologically, the article draws on an intertextual analysis of museum exhibition materials and research publications, as well as a critical review of scholarly literature on Japonisme in European culture. Particular attention is given to the concept of seriality in Monet’s painting and its interpretation through the lens of transcultural exchange. The author argues that Monet’s work was not only influenced by Japanese woodblock prints but also became part of a broader process of mutual artistic influence, in which Western painters actively reinterpreted the visual and philosophical principles of Japanese art. This article contributes to the study of artistic dialogue between East and West and highlights the role of museum institutions as mediators in intercultural interpretations of art.
museum research programs, international project, methods of preparation and holding of the exhibition, impressionism, Japonism, series of paintings
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