Monet spent the summer of 1867 at the resort town of Sainte-Adresse on the English Channel, near Le Havre (France). It was there, in a garden with a view of Honfleur on the
horizon, that he painted this picture, which combines smooth, traditionally rendered areas with sparkling passages of rapid, separate brushwork, and spots of pure colour.
Scenes of the fashionable bourgeoisie at leisure were a favoured subject matter for many of the young artists of the day. Although Monet later abandoned these subjects, he painted them
with enthusiasm, nearly always choosing scenes involving either water, flowers or landscape.
Glimpses of Monet's future artistic development con be seen in his treotment of the flowers, wrought in vibrant colours with short, blockg brushstrokes. In contrast, the figures and the
garden furniture are tightly painted and sharply delineated with much use of white highlights.
Monet called this work in his correspondence "the Chinese painting in which there are flags"; his friend, Renoir
referred to it as "the Japanese painting". In the 1860s, the
composition's flat horizontal bands of colour would have reminded the sophisticated of Japanese colour wood-block prints, which were avidly collected by Monet, Manet
Whistler and others in their circle. The print by the Japanese artist Hokusai that may have inspired this picture, "Turban-shell Hall of the Five-Hundred-Rakan Temple" (1830),
remains today at Monet's house-museum at Giverny.