Meadow at Giverny does not have an obvious focal point: no figure, structure, or natural feature attracts the viewer’s attention. The high-keyed palette and, especially, the insistence on pattern further contribute to our sense of it as a decorative painting, in the best sense of the term - as a work concerned, above all, with the very qualities of color and pattern. It is also a painting of loneliness. The only element that breaks from the pattern of horizontals is the tree in the background that frees itself from its neighbors. Were the tree a human figure, it could be described as displaying itself against the sky in a gesture of defiance or triumph. A tree is not a human being, of course, yet the temptation to read the one for the other is strong. This tree is isolated, mirroring the position of the viewer looking at this deserted, if colorful, meadow.