Water Lilies
| Support Type: | Canvas |
| Paint Type: | Oil Paint |
| Current Location: | Art Institute of Chicago |
| Location History: | The artist (d. 1926); sold to Durand-Ruel, Paris (3/4 interest), and Bernheim-Jeune, Paris (1/4 interest), June 3, 1909, for 14,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1901–13 (no. 9082, as Les nymphéas, paysage d’eau, série de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Henri Bernstein, Paris, May 29, 1909, for 20,000 francs [see previous: the Durand-Ruel Archives notes that “the apparent chronological anomaly between the dates of the purchase and of the sale is not unusual”]; sold to Durand-Ruel, Paris, Aug. 9, 1909, for 20,000 francs [per Durand-Ruel, Paris, stock book for 1901–13 (no. 9134, as Les nymphéas, paysage d’eau, série de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; on deposit to Durand-Ruel, New York, Apr. 1911 [per Durand-Ruel, New York, deposit book for 1894–1925 (no. 7606, as Les nymphéas, paysage d’eau, série de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Durand-Ruel, New York, Feb. 10, 1914 [this and the following per Durand-Ruel, New York, stock book for 1904–24 (no. 3768, as Les nymphéas, paysage d’eau, série de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Martin A. Sold by Durand-Ruel, New York, to Martin A. Ryerson (d. 1932), Chicago, Feb. 10, 1914, for $5,000 [see previous; also a purchase receipt on Durand-Ruel letterhead, dated February 10, 1914, details that this painting (no. 3768, Monet, Les nymphéas, paysage d’eau, 1906) was acquired by M. A. Ryerson, in addition to two other paintings (no. 3668, Monet, La cabane de douaniers, 1897 (cat. 35); and no. 3646, Monet, Waterloo Bridge, London,1903) (cat. 39) for $20,000, photocopy in curatorial object file]; bequeathed to the Art Institute of Chicago, 1933. |
Claude Monet's water lilies can be interpreted as a meditation on nature, light and the passage of time. Rather than focusing on a specific narratvie or event, the painting draws attention to the subtle beauty of an ordinary pond transformed through colour, reflection and atmosphere. The water lilies appear to float between the real and the abstract, creating a scene where the boundaries between water, sky and the greenery seem to dissolve. What stands out is the sense of calm that the painting creates. There is no dramatic action or central figure, yet the work feeld deeply engaging. The soft colours and fluid brushstrokes encourage quiet observation, almost as if the viewer is being invited to pause and appreciate a fleeting moment in nature. The reflection on the water are particularly fascinating becasue they make the scene feel constantly changing, despite the stillness of the subject. The painting seems to suggest that beauty can be found in simple and everyday surrounding when viewed with patience and attention. An interesting aspect of the painting is its conneection to Monet's own life. The painting was inspired by the water garden he created at his hime in Giverny, which became the focus of many of his later works. Rather than simply depicting flowers, Monet used the pond as a way to explore lights & reflection.