Claude Monet. Water Lilies. 1914-26

Claude Monet

Water Lilies


On view
Oil on canvas, three panels
Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm)
Mrs. Simon Guggenheim Fund
Object number
Painting and Sculpture
This work is on view on Floor 5, in Painting and Sculpture I, Gallery 9, with 3 other works online.
Claude Monet has 6 works online.
There are 2,104 paintings online.

The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium."

Gallery label from 2006

Additional text

In this triptych Monet depicted his Japanese-style pond covered with water lilies, at center, shimmering with reflections of clouds overhead. The water's surface fills the expansive composition so that conventional clues to the artist's—and the viewer's—vantage point are eliminated. Monet wished for the paintings to encompass the viewer: in his designs for the Musée de l'Orangerie in Paris, he specified that the Water Lily canvases be displayed on curved walls.

Gallery label from Monet's Water Lilies, September 13, 2009–April 12, 2010

Visitors to Monet's Giverny studio in 1918 found "a dozen canvases placed in a circle on the floor . . . [creating] a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." What they had seen was a group of paintings that Monet planned to install abutting each other in an oval, encompassing the viewer in a sensually enveloping space. The aim, he said, was to supply "the illusion of an endless whole, of water without horizon or bank." The Water Lilies triptych comes from this series, which describes a scene Monet not only showed in art but shaped in life: the pond in his own garden.

Like his fellow Impressionists, Monet, when young, had attempted a faithfulness to perceived reality, trying to capture the constantly changing quality of natural light and color. The Water Lilies, though, seem nearly abstract, for their scale and allover splendor so immerse us in visual experience that spatial cues dissolve: above and below, near and far, water and sky commingle. Perhaps this was the quality that led Monet's visitors to say, "We seem to be present at one of the first hours in the birth of the world." Yet Monet's desire that the installation create "the refuge of a peaceful meditation" seems equally just.

Water Lilies. c. 1920

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 98

Provenance Research Project
This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.
The artist, Giverny; by inheritance to his son Michel Monet (1878-1966), Giverny, 1926 [1]; sold to Katia Granoff, Paris, 1956 [2]; acquired by The Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund), 1959.
[1] Per catalogue raisonné Wildenstein (no.s 1972-1973-1974).
[2] Ibid.

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