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  • Claude Monet
    Nov 14, 1840 - Dec 5, 1926
  • Reflections of Clouds on the Water-Lily Pond (triptych, left panel) - Claude Monet was a French painter, initiator, leader, and unswerving advocate of the Impressionist style. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career, and it is fitting that one of his pictures - Impression: Sunrise (Musée Marmottan, Paris; 1872) - gave the group his name.
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Reflections of Clouds on the Water-Lily Pond (triptych, left panel)
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  • Reflections of Clouds on the Water-Lily Pond (triptych, left panel)

  • Claude Monet
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  • 1920-1926
    Oil on canvas
    three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm)
    Museum of Modern Art, New York, United States.



    The artist Claude Monet painted Water Lilies between 1914 and 1926 using oil paint on canvas. The work is composed of three separate panels placed side-by-side. Overall, the painting is about six and a half feet high and 42 feet wide. In metric units, it is about 200 centimeters high and 1,280 centimeters wide.

    Water Lilies depicts the surface of a pond in Monet’s gardens at Giverny, outside of Paris. Two perspectives are visible at once: the water’s surface and the surrounding world it reflects. The water fills the entire painting, so we cannot see the pond’s perimeter. The sky appears only in reflection—clouds float on tranquil, blue-green water punctuated by flowering lily pads. From a distance, it is easier to make out the composition, but as we move closer, the image dissolves into loose brushwork.

    Beginning at the far left panel, the paint is mostly dark shades of blue, green, and purple, suggesting that this part of the pond is in shadow. As we move to the right, the shadows give way and the colors gradually grow lighter.

    The center panel is the brightest. Floating lily pads glow with shades of violet, amethyst, and emerald green. The vegetation sits on watery reflections of clouds that are powder pink, peach, and pale yellow. These more luminescent colors are dashed across the surface of the canvas, fleeting flashes evoking glinting light mingling with the aquamarine blue sky.

    The pink clouds continue into the rightmost panel, periodically interrupted by looping strokes of greens, blues, and violets. Further to the right, the palette turns dark again, this time more abruptly. About two-thirds of the rightmost panel appear muddy brown as shades of dark purple, green, and blue intermingle. Perhaps we’re seeing the bottom of the pond through shallow water. Or perhaps this is the shadow of a tree cast over the pond. In the foreground, clusters of floating lilies are suggested by patches of pale green and flashes of magenta.

    Monet worked and reworked the surface of Water Lilies over many years, and he painted it at a time in his career when his work had become increasingly abstract. This may have been related to his gradual loss of eyesight; he had a cataract operation just a couple of years after Water Lilies was completed.

    Now let's explore this work further with a curator.

    Curator, Ann Temkin: This triptych of three mural sized panels was part of a series of Water Lilies paintings that Monet made in the last decade of his life.

    He decided that he was going to embark on a project of what he called “grand décorations” large decorations. And he thought of these as panels that would line a room or a couple of rooms that were curving. The galleries would have no edges and no corners, just like the water in the lily pond or the sky has no edges or corners.

    In early Impressionism you had these views of nature where you were out looking at a seaside or out looking at a field and there were kind of markers of location that you could understand here I am as a person. Here's the view that the painter is portraying for me. With the water lily panels, he's changed it completely so that rather than you being larger than the view that you're looking at on an easel-sized canvas, you're just right in the face of those water lilies and the surface of the water with the clouds reflected from above. You become lost in this expanse of water and of light that is unique in modern art.

    Why settle for a paper print when you can add sophistication to your rooms with a high quality 100% hand-painted oil painting on canvas at wholesale price? Order this beautiful oil painting today! that's a great way to impress friends, neighbors and clients alike.

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Other paintings by Claude Monet:

Unloading Charcoal. Argenteuil (Coal Dockers)
Unloading Charcoal. Argenteuil (Coal Dockers)
Argenteuil, Flowers by the Riverbank
Argenteuil, Flowers by the Riverbank
Reflections of Clouds on the Water-Lily Pond (triptych, center panel)
Reflections of Clouds on the Water-Lily Pond (triptych, center panel)
Reflections of Clouds on the Water-Lily Pond (triptych, right panel)
Reflections of Clouds on the Water-Lily Pond (triptych, right panel)
Claude MonetIn 1890 Monet had bought a strip of marshland across the road from his house and flower garden, through which flowed a tributary of the Epte. By diverting this stream, he began to construct a water-lily garden. Soon weeping willows, iris, and bamboo grew around a free-form pool, clusters of lily pads and blossoms floated on the quiet water, and a Japanese bridge closed the composition at one end. By 1900 this unique product of Monet's imagination (for his Impressionism had become more subjective) was in itself a major work of environmental art--an exotic lotus land within which he was to meditate and paint for more than 20 years. The first canvases of lilies, water, and the Japanese bridge were only about one yard square, but their unprecedented open composition, with the large blossoms and pads suspended as if in space, and the azure water in which clouds were reflected, implied an encompassing environment beyond the frame. This concept of embracing spatiality, new to the history of painting and only implicit in the first water-lily paintings, was expanded by 1925 into a cycle of huge murals to be installed in Paris in two 80-foot oval rooms in the Orangerie of the Tuileries. These were described in 1952 by the painter André Masson as "the Sistine Chapel of Impressionism." This crowning achievement of Monet's long, probing study of nature--his striving to render his impressions, as he said, "in the face of the most fugitive effects"--was not dedicated until after his death. The many large studies for the Orangerie murals, as well as other unprecedented and unique works painted in the water garden between 1916 and 1925, were almost unknown until the 1950s but are now distributed throughout the major private collections and museums of the world. Despite failing eyesight, Monet continued to paint almost until his death in 1926.