Painted during his third summer in the village, Giverny (ca. 1889) is a prototypical example of the technique that earned Theodore Robinson his reputation in America. Using a vantage from a hillside overlooking the Seine valley, he adjusted his easel to paint several views of the rural landscape. The strong composition and strict delineation of architectural elements in Giverny hark back to Robinson’s academic training, while the bright violet-and-green palette and deft, summary treatment of the light-dappled foliage betray his exposure to impressionism. In Giverny, Robinson emphasized parallel diagonal lines that radiate to the left of the picture plane and terminate at the horizon line near the top of the canvas. Robinson executed this painting en plein-air—out of doors—capturing the immediate brilliance of the sunlight and warm colors of the country, a technique he no doubt learned from Monet.