Verily, good sir, I prithee, there thou hast it.

I’ve always found that an interesting question.

I think people back then must have been amazed by pictures like this and probably had to get used to what they were seeing at first. I suppose they must have perceived a certain magic in them that had a quality quite unique to itself.

I mean, even much later, philosophers such as Walter Benjamin (1892–1940) wondered whether a work of art might lose some of its "aura" in the age of its technical reproducibility—that strange magic that makes art so powerful for the viewer and also seems to depend on the context in which it is viewed, whether as a copy of the artwork in another medium or simply in an era when there are other ways to capture reality.

Cool! Amazing what's out there...

For example, Wikipedia has a whole list of Monet’s works that includes several versions of this painting, among many others (the version featured in this post is currently at the Princeton University Art Museum).

Many museums also provide high res images, such as the Musée Marmottan Monet

Monet painted several versions of the Japanese Bridge at Giverny.

He did not always give each canvas a strict, unique title. Later catalogues and museums often assigned descriptive names based on what is shown in the painting.

Among them are "The Japanese Bridge," "Japanese Bridge at Giverny," and "Water Lilies and Japanese Bridge."

So the paintings are not always known by one single fixed title.