$60.00 U.S. (trade discount)
No e-book has been authorized.
Hardcover/PLC with slipcase
Bilingual: English and French text
146 pages with five foldouts and 70 color images by the authors
14.0″ x 11″ landscape
ISBN: 978-1-960521-16-3
Forthcoming October 2026
Distributed by Casemate/IPM
www.casemateipm.com
Published in association with the
Center for the Study of Place.
Events and Exhibitions
February 14 – March 14, 2026
Janet Russek + David Scheinbaum:
Giverny
Pie Projects Contemporary Art,
Santa Fe, NM
by Janet Russek and David Scheinbaum
with essays by Jean-Marie Avisard, Jan Huntley, and Paul Hayes Tucker
A book unlike any other on Monet’s famous gardens in Giverny!
Claude Monet is one of most influential French painters and a founder of the Impressionist movement. When he purchased a house and land in Giverny, France, during the 1890s, he soon set about creating gardens on his property, including a water garden inspired by the Japanese art that influenced so much of his work. These gardens would become a focal point for his art for the rest of his life. He made more than 250 paintings of them, including hundreds of paintings of the water garden that make up his famous Water Lilies series.
In Giverny—A Colorful Silence: Four Seasons in the Gardens of Monet, Monet’s gardens are the subject of photographers Janet Russek and David Scheinbaum, who first visited the gardens in 2015. That experience inspired them to delve more deeply into Monet’s life and work and to seek special permission from the Monet Foundation to visit and photograph the gardens in Giverny. They proceeded to make four more trips over three years to photograph the gardens in each of the four seasons, and the stunning photographs they made reveal the changing beauty, light, and color palettes of the gardens throughout the year. In their own way, Russek and Scheinbaum captured unforgettable views and perspectives that even those fortunate enough to visit the gardens in person may not see. Their photographs embrace the spirit of Monet’s magical gardens while also honoring their history and Monet’s legacy and vision.
Russek and Scheinbaum’s color photographs are accompanied by heartfelt and informative essays (in both English and French) by Jean-Marie Avisard, the current Head Gardener at Monet’s gardens, Jan Huntley, Head of the Artist and Volunteer Program at the Versailles Foundation Inc. Foundation Claude Monet à Giverny, and Paul Hayes Tucker, an esteemed art historian and expert on Monet’s life and works. Giverny—A Colorful Silence is a gift for all who revere Monet and his gardens.
About
About the Authors
Janet Russek is a photographer and, since 1980, has operated the photography gallery Scheinbaum and Russek Ltd. in Santa Fe, New Mexico, with her partner, David Scheinbaum. She was a founding member of the Santa Fe Children’s Museum and has served on the Board of Directors of both the Association of International Photography Art Dealers and The Marion Center for Photographic Arts. Russek has curated numerous exhibitions, including La Mirada Critica, Luis Gonzalez Palma, and the Lannan Foundation (2007). Her photographs have been featured in numerous periodicals, including Black & White Magazine, Hyperallergic, Lenscratch, The Santa Fean, and Trend Magazine, and in books such as Judy Chicago and Frances Borzello’s Frida Kahlo: Face to Face (Prestel Publishing, 2010), Thomas F. Barrow and Kristin Barendsen’s Photography, New Mexico (Fresco Fine Art Publications, 2008), Mary Anne Redding and Krista Elrick’s Through the Lens: Creating Santa Fe (The Museum of New Mexico Press, 2008). Russek’s books include The Tenuous Stem (Radius Books, 2013), and, with David Scheinbaum, Remnants: Photographs of the Lower East Side (Radius Books, 2017), Images in the Heavens, Patterns on the Earth: The I Ching (Museum of New Mexico Press, 2004), and Ghost Ranch: Land of Light (Balcony Press, 1997). Her Website is janetrussek.com.
David Scheinbaum is a photographer and, with his wife, Janet Russek, and daughter, Andra Russek, operates Scheinbaum and Russek Ltd., a private fine art photography dealer in Santa Fe, New Mexico. He was formerly the Director/Chair of the Photography Department and The Marion Center for Photographic Arts at the Santa Fe University of Art and Design and is Professor Emeritus at the College of Santa Fe. Scheinbaum’s publications include Enso: What is Beheld (Museum of New Mexico Press, 2024), Varanasi: City Immersed in Prayer (George F. Thompson Publishing, 2022), Hip-Hop: Portraits of an Urban Hymn (Damiani Editore, 2013), Beaumont’s Kitchen (Radius Books, 2009), Stone: A Substantial Witness (Museum of New Mexico Press, 2006), Miami Beach: Photographs of An American Dream (University Presses of Florida, 1990), Bisti (University of New Mexico Press, 1987), and, with Janet Russek, Remnants: Photographs of the Lower East Side (Radius Books, 2017), Images in the Heavens, Patterns on the Earth: The I Ching (Museum of New Mexico Press, 2004), and Ghost Ranch: Land of Light (Balcony Press, 1997). Scheinbaum has received The New Mexico Governor’s Award for Excellence in the Arts in 2010 and The Santa Fe Arts Commission’s Mayor’s Award for Excellence in the Arts in 2001. His Website is www.davidscheinbaum.com.
About the Contributors
Jean-Marie Avisard has been a part of the team of gardeners at Claude Monet’s gardens since 1988 and, since 2018, has been the Head Gardener of Monet’s Gardens at Giverny. As Head Gardener he has worked tirelessly within the gardens, insisting on the importance of the entire team, while ensuring the transmission of knowledge for the future.
Jan Huntley, for more than twenty-five years, has been Head of the Munn Artist-in-Residency and Horticulture Internships Programmes of the Versailles Foundation Inc. Claude Monet, where she focuses on paying homage to the past while opening paths of inspiration for the future.
Paul Hayes Tucker is an art historian, curator, and author widely recognized as one of the world’s foremost authorities on the French Impressionist painter Claude Monet. He is Professor Emeritus at the University of Massachusetts Boston where he taught for thirty-six years. Tucker has written and edited eleven books, including Claude Monet, Late Work (Gagosian Gallery, 2010), The Impressionists at Argenteuil (National Gallery, 2000), Monet in the 20th Century (Yale University Press, 1998), Claude Monet: Life and Art (Yale University Press, 1995), and Monet at Argenteuil (Yale University Press, 1982), and has curated more than half a dozen international exhibitions, lectured at museum around the world, and contributed numerous essays to museum catalogues and art historical publications.
Praise
“One does not photograph something only for ‘what it is,’ but for what else it is.”With those words of photographer Minor White in mind, Janet Russek and David Scheinbaum spent four seasons walking, exploring, and discovering points of conversation with the gardens in Giverny and with their creator, artist Claude Monet. In their wanderings, Janet and David found the grace of each season’s specific qualities. Revealed here are these moments—nuanced abstractions of light, color, and nature, seeming to be both cultivated corners and also wild glimpses of landscape. Minor White recognized the photographs’ capacity of enlarged experience perfectly, writing: “The camera records superbly but transforms better.” The photographs chosen for Giverny—A Colorful Silence form a bridge between what the camera documents and the gentle transformations created by the artists.
—Elizabeth Glassman, art historian and former President and CEO of the Terra Foundation for American Art
Slide Show
Coming soon!
My Place
David Scheinbaum
My Place has always been the darkroom. Soon after our quarantine began in March 2020, I embarked on a new body of work that I hoped would take me through the COVID-19 pandemic. Olivia, my granddaughter, was unable to return to school and began spending more time with my wife/partner, Janet, and me. After a few weeks of observing me disappearing into the darkroom for a few hours a day, she asked if she could come in with me. I agreed and suggested that she bring something with her with the intent of making photograms. After making her first few photograms, she expressed interest in making prints the way I was making them, by brushing chemistry onto the paper rather than immersing the paper into the chemicals.
That is when our collaboration began. Olivia chose all of the objects, placing them on the paper herself and then engaging the enlarger timer. Although I handled all the chemistry, she stood on a stool beside me at the sink, directing my hands and telling me when she felt the photogram was finished. To my amazement and delight, after two or three times she had already learned the names of the chemicals, what each of them does, and basically grasped the technique and theory behind my darkroom practice.
While making each image, Olivia would tell a story about the picture. Like many children, she was very interested in dinosaurs, and many of her images relate to that interest. The dinosaurs were her friends. This project started at about the time she was turning four and was becoming aware of her “own” self and relationships with family and friends.
This is momma T-Rex.
She loves to race with her babies and she splashes in puddles with her kids.
She likes to play with Stegy Stegosaurus.
She likes to protect her babies.
She protects them from the wicked dinos.
And they jump on couches a lot.
In the days that followed, after the prints were dried, Janet would sit with Olivia and transcribe her stories and descriptions of each image, thus creating the text for her photograms. This collaboration has added new dimensions to our grandparent-granddaughter relationship.
Essay and photographs copyright © 2022 David Scheinbaum. All rights reserved.