The spiral reads clean against that dark field. I'm curious what the exposure was, holding detail in something that tight while keeping the background that deep takes real control of your light source.

Monet's a tough study because it looks loose but every stroke is doing work underneath. I tried impressionist techniques early on with landscapes, couldn't make it click for a long time. The mess-that-isn't-a-mess thing, that's exactly it. You're getting there, the light's starting to move in this one.