Louis Gillet labeled some paintings of these objects “upside-down” according to Ross King’s book Mad Enchantment, (10[1])which describes an artist’s visit to the 1889 Exposition Universelle. The last volume of a catalog raisonné by Daniel Wildenstein is dominated by paintings of these objects, including Green Reflections. In a letter to Gustave Geffroy, an artist described paintings of these objects creating an “illusion of an endless whole” after a successful exhibit (-5[1])at the Galerie Durand-Ruel. (10[1]-5[1])The World War I armistice led Georges Clemenceau to manage a decade-long commission for paintings (10[1])of these objects, which was delayed by the artist’s cataract (10[1])surgeries. (10[6]-5[1])Two oval (10[2])rooms (10[1])house (10[1])paintings of these objects at the Musée de l’Orangerie (10[3])(“mew-zay duh lo-ronzh-REE”). For 10 points, (10[1])a Japanese bridge at (10[1])Giverny is featured in (10[1])Claude Monet’s paintings of what aquatic plants? (10[1])■END■ (10[1])