<?xml version='1.0' encoding='UTF-8'?><xml><records><record><source-app name="HighWire" version="7.x">Drupal-HighWire</source-app><ref-type name="Journal Article">17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Gruener, Anna</style></author></authors><secondary-authors></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">The effect of cataracts and cataract surgery on Claude Monet</style></title><secondary-title><style face="normal" font="default" size="100%">British Journal of General Practice</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2015</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2015-05-01 00:00:00</style></date></pub-dates></dates><pages><style  face="normal" font="default" size="100%">254-255</style></pages><doi><style  face="normal" font="default" size="100%">10.3399/bjgp15X684949</style></doi><volume><style face="normal" font="default" size="100%">65</style></volume><issue><style face="normal" font="default" size="100%">634</style></issue><abstract><style  face="normal" font="default" size="100%">The French impressionist Claude Monet (1840–1926) is best remembered for the iconic paintings of his garden and water lily pond in Giverny (Figures 1 &amp; 2). In his 60s, Monet started to develop bilateral age-related cataracts (or nuclear sclerosis), which would eventually affect his work dramatically. In 1913, Monet travelled to London to consult the German ophthalmologist Richard Liebreich, who had been appointed chair of ophthalmology at St Thomas’ Hospital. Interestingly, Liebreich himself had a keen interest in art and had published an article on the effect of eye disease on the painters Turner and Mulready.1–3Figure 1. Claude-Oscar Monet. The Water-Lily Pond 1899 © National Gallery, London.Figure 2. Author’s Father on Monet’s bridge in Giverny in 2004.Liebreich prescribed new glasses and recommended cataract surgery for the right eye, but Monet refused. By 1914–1915, he began to struggle quite severely, complaining that ‘colours no longer had the same intensity for me’, that ‘reds had begun to look muddy’ and that ‘my painting was getting more and more darkened.’4 To avoid choosing …</style></abstract></record></records></xml>