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The Star
12-06-2025
- The Star
An impressive tourism palette in Normandy, France
Normandy (or Normandie), with its ever-changing skies and rugged coastline, initially appealed to local French holidaymakers before becoming a top spot for artists seeking to capture the fleeting moments of nature's beauty. In the late 19th century, the coastal region became a pivotal backdrop for the Impressionist movement, influencing artists to step outside their traditional studios and embrace the nuances of natural light on the landscape. Normandy was, for many Impressionist painters, their birthplace and home. The term 'Impressionism' originated from Claude Monet's 1872 painting, Impression, Sunrise, which depicted Le Havre at dawn. Monet was born in Paris but raised in the port of Le Havre and frequently returned to his hometown to paint its ever-busy port, and the interplay of light on coastal waters. His works from this period emphasise transient moments, capturing reflections and atmospheric conditions. The port city's proximity to Paris and its growing number of fashionable seaside resorts like Dieppe, Honfleur, Deauville and Trouville-sur-Mer meant that artists could simply travel to Normandy by train, and then incorporate a palette of colours into their artistic works. Many stayed to paint an artistic legacy that is hard to rival in any other part of the world. For over half a century, these seaside resorts and the historic riverside city of Rouen inspired the Impressionists. Breaking away from the more formal, classical themes of the early 19th century, the Impressionists were revolutionary in their preference for painting en plein air – or in the open air/outdoors – in natural light. Landscapes, towns, and scenes of daily life were their subject matter. While Monet's paintings are housed in numerous galleries and collections around the world, a remarkable number of Impressionist works can still be admired in Normandy. These paintings, where they were painted, and many other essential elements of French life provide good reasons for visiting Normandy. Road to Rouen My journey of discovery began in Giverny, beside the river Seine, 75km northwest of Paris. It was an excellent place to start my discovery of Normandy, as it was just a short drive from Paris. This is where you can enjoy the fresh air of the French countryside. Not only is the small town an important part of the Impressionist jigsaw puzzle, but its villagers also happily welcome visitors. The beautiful Rouen Cathedral and the city's half-timbered buildings inspired Monet. Monet's home and gardens here were his lifelong inspirations, which lead to his iconic Water Lilies series. The Fondation Claude Monet preserves his house and gardens, allowing visitors to experience the outdoor setting that inspired his creativity and imagination. The place was a magnet for other painters until Monet's death in 1926. While some took advantage of his hospitality, others stayed at the Hotel Baudy. In the late afternoon, I travelled to Rouen to enjoy dining on the open square of Place du Vieux Marche (Old Market Square), taking in the markets, walking along the river, and visiting the famous cathedral. Monet's paintings of Rouen Cathedral, depicting the structure at different times of the day and under varying light conditions, exemplifies his exploration of light and perception. The Musee des Beaux-Arts has a compelling display of Monet's cathedral series. The cathedral was built in two phases and two distinct styles. Work started on the Roman-inspired section in 1030, and in 1145, the Gothic-inspired section commenced. At 150m high and 145m long, it is France's highest and most asymmetrical cathedral since the reconstruction of its cast iron spire in 1876. For me, simply strolling along Rouen's medieval streets past half-timbered buildings was a highlight of this historic city. Village life in La Bouille Rouen is a large, bustling riverside city that offers many tourist activities and facilities, but it was Normandy's smaller towns and villages that were in my sights. Impressionists Alfred Sisley, William Turner and Paul Gauguin all painted here in the village, which dates back to the 13th century. Helpful signs aided my understanding of the sites and attractions around the walkable town. La Bouille, a small riverside village, was my base for two days. I wanted to enjoy village life while exploring the region. As an indication of expenses in a village compared to a big city like Rouen, my off-peak accommodation for two at the Hotel Le Bellevue in La Bouille was €77 (RM373) a night, and breakfast was €14.50 (RM70) a head. Meanwhile, a three-course dinner in the adjoining restaurant, La Table d'Hector, was €39 (189) per person without beverages. During my stay in La Bouille, I visited the nearby Museo Seine at Rives-en-Seine to learn about the history of the region and the importance of the river to everyday life across the floodplain. Honfleur is arguably the most picturesque fishing village along the Normandy coast. If you can't paint it, then at least take a picture of the place if you ever visit. Riverside Honfleur Honfleur is the quintessential seaside fishing town fronting the Atlantic Ocean where it meets the Seine. Apart from exploring the quaint seafront with its fishing fleet, the Musee Eugene Boudin, with paintings by Eugene Boudin and Monet, isn't to be missed. Boudin, an influential Impressionist from Honfleur, was known as the 'king of the skies'. He introduced Monet to plein-air painting, urging him to capture the changing skies directly. Honfleur's picturesque harbour, with its wooden houses and shifting light, became a frequent subject for both artists. I enjoyed a leisurely seafood dinner overlooking the port, which becomes quieter after the day-trippers have moved on. Not surprisingly, Honfleur is one of the most popular tourist sites in Normandy, attracting many who dine in seafood restaurants after wandering the historic streets. This charming port town, with its cobblestone streets and historic architecture, captivated many Impressionists. Cliffs and gardens of Etretat A natural stop on my way north from Honfleur to Etretat was Le Havre, as Monet's early works were painted in and around the port. The Musee d'Art Moderne Andre Malraux (MuMa) houses an extensive collection of Impressionist art, including Monet's works (Water Lilies) and those of his contemporaries. Further north, the dramatic cliffs and natural arches of Etretat provided a stunning backdrop for painters like Delacroix and Courbet. Courbet, like other Impressionists, was fascinated by the dramatic geological formations, the quality of natural light, and the clarity of the air. He appreciated that the composition of the sea, the land with its cliffs and rocks, and the sky was well balanced. In 1868, Monet lived in Etretat with Camille Doncieux, whom he was to marry two years later. He visited the seaside resort town on many occasions in the 1880s to work on numerous paintings depicting the cliffs under varying light conditions, and capturing their ever-changing appearance. The chalk cliffs at Etretat inspired many Impressionist painters including Monet who lived nearby. He, too, was fascinated by the dramatic cliffs and rock arches and was constantly looking for somewhere with outstanding natural beauty that he could paint. He sought sites to observe the effects of natural light on the sea and the limestone cliffs of what is known as the Alabaster Coast. He would move from one position to another, continually looking for the best natural lighting across the landscape. This explains why Monet painted so many pictures of the same scene. He wanted to capture the changing light at various times and during ever-changing weather conditions. As such, it was not only the beauty of the coastline that appealed but also its changing weather, including its tempestuous ferocity. In 1883 Monet completed a work entitled Stormy Sea In Etretat, which is currently housed in Lyon's Musee des Beaux-Arts. Like other visitors, I walked the clifftop paths that Monet once did, admiring the same vistas that inspired his masterpieces. However, it was the evocative art in the manicured gardens at Jardins d'Etretat that fascinated me most. Perched high on the cliffs above the seaside town, the Jardins d'Etretat are a striking blend of nature, contemporary art and architectural landscaping. The gardens were created in 1905 by actress Madame Thebault, who was inspired by Monet's paintings depicting the local seascape. After decades of obscurity, the gardens were restored and reimagined in 2017 by Russian landscape architect Alexandre Grivko. He designed modern topiary gardens that pay homage to the original Belle Époque spirit while combining avant-garde sculpture with environmental themes. The gardens at Etretat are a living cultural canvas that challenges the senses at every twist in the pathways that weave through them. Small towns like La Bouille along the Seine are ideal for enjoying French daily life. Visitors to the gardens can explore a series of distinct spaces with names like Impressionist, Emotion, and Aval, where immaculately sculpted foliage undulates in harmony with the cliffside. The experience is deliberately immersive, with art installations by global artists interwoven into the landscape to challenge the boundary between gallery and garden. In the town, Le Donjon – Domaine Saint Clair offers accommodation and refined Norman cuisine with sea views and accommodation. Normandy's landscapes, with their interplay of light and natural beauty, continue to resonate with artists and visitors alike. By following in the footsteps of the Impressionists, visitors to France can gain a deeper appreciation for their paintings and the environment that inspired them. Normandy also provides a wonderful French experience that is close to the air gateway of Paris. Even visitors with a limited appreciation of the Impressionists can travel to Normandy to appreciate it in a different light. The destination's tourism infrastructure and interpretation facilities make it easy for visitors to travel here to take in the beauty of the land and all that it has to offer. n The Normandy Impressionist Festival is staged annually throughout the province from July 1 to the end of August. Travel Notes How to get there: Fly into Paris (Orly or Charles de Gaulle airports) and hire a car to Normandy, or take the train to Rouen. Trains operated by SNCF depart from Charles de Gaulle, with the fastest direct connection taking about four hours (train changes at Arras and Amiens). Trains from Paris to Normandy depart from Saint-Lazare Station and cover the 135km distance to Rouen in just 75 minutes. Alternatively, join a multi-day river cruise from Paris that includes stops in Honfleur and Rouen. CroisiEurope operates boating tours of Normandy along the river Seine departing from, and returning to Paris. More info: Explore France ( and Normandy Tourism (
Forbes
23-05-2025
- Business
- Forbes
The Edge Gap: Why Experimentation Is Important For Brands In 2025
Liam Wade - Performance Director at Performance Marketing Agency, Impression. In 2025, the biggest risk in marketing isn't making a bold move—it's playing by the book. AI-driven tools have made marketing faster, smarter and more scalable. But they've also created a paradox: When everyone is using the same software, platforms, targeting models and campaign techniques, competitive advantage collapses. Best practice has quietly become common practice, and that's where the danger lies. I'm in conversation with at least 10 new brands per week. Nine out of 10 of them say the same thing: What's "tried and tested" isn't working anymore. Some blame the algorithm. Others realize they've become too cautious. This is the "edge gap"—the space between brands optimizing for efficiency and those exploring for effectiveness. The only way to close it without wasting budget? Treat experimentation not as a tactic, but a mindset—a strategic advantage in an overly risk-averse landscape. Marketing in 2025 is marked by an uncomfortable truth: Everyone is using the same tools to chase the same outcomes. Meta's Advantage+ campaigns hit a $20 billion annual run rate in Q4 2024—a 70% year-over-year increase. Meanwhile, 95% of retail advertisers using shopping ads have adopted Google's Performance Max, according to Tinuiti's Digital Ads Benchmark Report Q4 2024. These aren't just trends; they're signs of a marketing ecosystem that's been optimized into sameness. This is the edge gap in practice: the growing divide between brands that stick with automated, AI-driven campaign systems and then focus on efficiency, versus those actively exploring new paths to stand out. The edge gap is the widening space between marketing strategies that sharpen a brand's competitive edge and those dulled by algorithmic automation, uniform targeting and the rinse-and-repeat logic of platform and industry best practice. It's not a theory; from the clients I speak to, there are signals across the industry that marketers chasing a competitive edge are starting to walk away from "black box" campaign types in search of something more original. Algorithms don't just optimize—they homogenize. And we're all using the same targeting technology. So when every brand plays by the same rules, creative solutions become the only way to get a competitive advantage within your advertising. Many brands think they're innovating, but they're only tweaking. Adding more data, cutting "wasted spend" or rotating similar creatives may boost ROI, but these are optimizations, not exploration, and rarely drive real revenue growth. Exploration means going off script and testing bold ideas outside the industry playbook. It's trying unfamiliar channels, formats or creative styles, and even breaking tools to use them differently. The trap is that iteration feels safe. It offers progress without disruption and wins boardroom approval with fast, measurable results. But over-optimizing what already exists limits exploration and weakens long-term performance. Real progress needs a system, one built on experimentation. Experimentation is the antidote to risk-averse marketing. It gives brands a way to explore bold ideas without betting the entire budget. It's not guesswork, and it's not chaos—it's a system for learning. It's a way to try before you buy, measure before you scale and push boundaries with purpose. High risk can equal high reward. But experimentation works as the arbitrator, minimizing those risks by testing parts of the strategy before deciding where to invest fully. It gives teams the confidence to try something genuinely different, without getting shut down at the first sign of uncertainty. The upside is well documented. Bain has highlighted countless examples where marketing experimentation has driven measurable ROI growth. And yet, McKinsey reports that only 25% of C-level marketers say they've embedded a test-and-learn culture into their teams. The gap isn't one of knowledge—it's one of commitment. Too often, data and analytics teams are focused on proving value, not growing it. They're looking backward at what worked, not forward at what could. Experimentation flips that model. It uses data as a launchpad for future media effectiveness, not just past efficiency. Saying you value experimentation is easy, but embedding it into how your team thinks and works is far harder. The best brands share three traits: They reward original thinking and protect teams who take risks. Failure is essential for discovery. At Impression, some of our best-performing ads started as long shots. True creative progress requires leadership to back bold testing, financially and culturally. Not every idea needs testing, and not all tests deliver instant results. Smart teams prioritize high-impact hypotheses, bets that, if right, unlock real growth. Too often, testing is used only to justify spend, leading to cautious, shallow efforts that are cut too soon. Real learning requires time and commitment. Without structure, testing loses credibility. Vague or biased experiments create confusion, not clarity. That's why rigorous data science is nonnegotiable. It means setting clear hypotheses, managing variables, using control groups and ensuring significance before declaring wins. Strong teams treat experimentation as a continuous system for learning, not one-off projects. In a marketing world increasingly shaped by black-box automation and AI, we've been guilty of adjusting our businesses' goals to fit the platform's best practices. But when everyone is optimizing using the same tools, best practice becomes common practice. Standing still is falling behind. Experimentation isn't just a tactical add-on. It's a cultural capability, a mindset that allows your brand to move fast without falling into the sameness trap. It's how you test the unconventional and find your next breakthrough before your competitors do. Because as we rocket through this decade, the edge gap will only widen. It will separate the brands that play it safe from the brands that grow. Perhaps you're lucky right now … if your competitors are still following standard practice, you're probably doing fine. But that won't last. Eventually, someone in your category will decide to explore. One type of brand will focus on iteration. The other will explore. And only one will survive. Forbes Communications Council is an invitation-only community for executives in successful public relations, media strategy, creative and advertising agencies. Do I qualify?
BBC News
05-02-2025
- Entertainment
- BBC News
Hosting Monet 'positively represents' Blackpool
Having an Impressionist masterpiece exhibited in Blackpool as part of a national tour shows how the town "is being positively represented on a national and international stage", its council leader has Monet's The Petit Bras of the Seine at Argenteuil will be shown at the town's Grundy Art Gallery from 28 March until 13 June as part of its tour of four English galleries. The work, which has only left the National Gallery once in the past 20 years, was painted by the artist in Council leader Lynn Williams said she was delighted locals would "get an opportunity to experience art of such significance on their doorstep". The work, which depicts two figures on the banks of the River Seine in the Parisian suburb, was completed in the same year as the Monet piece which inspired the name of the Impressionist movement, Impression, piece was bequeathed to the National Gallery by British diplomat Sir Robert Hart. Describing the work, the National Gallery said Monet used "a variety of brushstrokes" in the piece, ranging from "bold horizontal strokes in the foreground and water to light... feathery touches for the trees"."He seems to have been fascinated by the reflections in the water, a theme that preoccupied him throughout his career," it was chosen as one of four locations, alongside Hull, Norwich and South Shields, to host the painting from a list of more than 30 museum and galleries.A council representative said hosting it continued the ambition set out by the founders of the gallery, brothers Cuthbert and John Grundy, of bringing world-class art to the gallery will combine the displaying of the work with a solo exhibition by the painter Louise Giovanelli, who will return to the site on the tenth anniversary of her first solo exhibition Williams said she was "delighted that Blackpool residents will get an opportunity to experience art of such significance on their doorstep and that visitors to the town will have such an exciting arts and culture offer to explore"."This is another example of how the Grundy is being recognised for the ambition and quality of its work and evidence of how Blackpool is being positively represented on a national and international stage," she Gallery director Sir Gabriele Finaldi said it was part of the organisation's duty to bring the paintings it held "to where people are [and] not just expect them to come to us". Listen to the best of BBC Radio Lancashire on Sounds and follow BBC Lancashire on Facebook, X and Instagram.
