Water Lilies

CC0 Public Domain Designation

Painting and Sculpture of Europe

1906

Claude Monet (French, 1840–1926)

Little did Claude Monet know that the water garden he created three years after buying his Giverny, France, property in 1890 would become his primary inspiration over the next two and a half decades. These paintings, numbering around 250, mark Monet’s artistic journey from more straightforward depictions of the pond spanned by the wooden Japanese bridge to the monumental and near-abstract series on the water lily theme he made in preparation for his murals at the Musée de l’Orangerie in Paris between 1914 and 1926.

Water Lilies, one of a group of paintings on the subject made between 1903 and 1908, comes at the midpoint of Monet’s developing style and spatial experimentations. The nearly square format underscores his move away from painting the conventional zones of land, sky, and water to focus solely on the water’s surface. Clusters of water lilies at bottom left and top right frame a watery path, while the water’s surface reflects trees and clouds. Although the dreamlike quality of floating forms might seem to be a natural development for the artist, he considered these works “an obsession,” a sentiment borne out by technical examinations on the Art Institute’s canvas, revealing many significant changes made to the painting in progress.

Status: On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World
Department: Painting and Sculpture of Europe

Artist: Claude Monet
Title: Water Lilies
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1906
Medium: Oil on canvas
Inscriptions: Inscribed lower right: Claude Monet 1906
Dimensions: 89.9 × 94.1 cm (35 3/8 × 37 1/16 in.); Framed: 103.2 × 107 × 5.8 cm (40 5/8 × 42 1/8 × 2 1/4 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1157
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16568/manifest.json

Galeries Durand-Ruel, Les nymphéas, séries de paysages d’eau par Claude Monet, exh. cat. (Galeries Durand-Ruel, 1909), cat. 15.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2139.
Gustave Geffroy, “Claude Monet,” L’art et les artistes 2, 11 (Nov. 1920), p. 73 (ill.).
M. C., “Monets in the Art Institute,” Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), p. 20.
Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.
Toledo Museum of Art, Catalogue: Paintings by French Impressionists and Post-Impressionists (Toledo Museum of Art, 1937), cat. 16 (ill.).
George Slocombe, “Giver of Light,” Coronet (Mar. 1938), p. 26 (ill.).
Scottish Rite Temple, Central Illinois Art Exposition, exh. cat. (Scottish Rite Temple, 1939), p. 13, cat. 26.
Arts Club of Chicago, Origins of Modern Art, exh. cat. (Arts Club of Chicago, 1940), p. 15, cat. 63.
Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 288.
Wichita Art Museum, Three Centuries of French Painting, exh cat. (Wichita Art Museum, 1954), p. 3, cat. 17.
Art Institute of Chicago, “Catalogue,” Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 322.1679
A. James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo 84, no. 55 (Sept. 1966), p. 222.
Denis Rouart and Jean-Dominique Rey, Monet, nymphéas, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 159 (ill.). Translated by David RadzinowiczasMonet, Water Lilies: The Complete Series, rev. ed., with a cat. rais. by Julie Rouart with Camille Sourisse (Flammarion/Rizzoli, 2008), p. 124 (ill.).
Grace Seiberling, “The Evolution of an Impressionist,” in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 37, 38.
Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 167, cat. 110 (ill.).
Grace Seiberling, Monet’s Series (Garland, 1981), pp. 228; 407, no. 33; fig. 33.
A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 59, cat. 3B3; microfiche 3, no. B3 (ill.).
Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), p. 35, no. 15 (ill.); 67.
Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], exh. cat. (Nippon Television Network, 1985), pp. 126, cat. 64 (ill.); 127 (detail); 161.
Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), pp. 255; 263, pl. 103.
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 214; 215, cat. 1683 (ill.); 376, letters 1885, 1887, 1888, 1890, 1891; 377, letter 1897; 429, piéces justificative 213, 215.
Christian Geelhaar, et al., Claude Monet: Nymphéas, Impression, Vision, exh. cat. (Kunstmuseum Basel, 1986), pp. 52, cat. 22 (ill.); 173.
Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111; 115 (ill.); 118.
Charles F. Stuckey, Monet, Water Lilies (Hugh Lauter Levin, 1988), p. 37, pl. 12.
Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 63 (detail); 65; 102, pl. 31; 109.
Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 152, cat. 130 (ill.); 241; 243.
Paul Hayes Tucker, “Passion and Patriotism in Monet’s Late Work,” in New Orleans Museum of Art and Fine Arts Museums of San Francisco, Monet: Late Paintings of Giverny from the Musée Marmottan, exh. cat. (New Orleans Museum of Art/Fine Arts Museums of San Francisco/Abrams, 1995), pp. 37, fig. 10; 40.
Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 358, cat. 1683 (ill.).
Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), p. 764, cat. 1638 (ill.); 765.
James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Institute of Chicago, 1996), p. 11 (ill.).
Lynn Gamwell, “Arcadian Impulses in Avant-Garde Art,” in Donald Kuspit and Lynn Gamwell, Health and Happiness in 20th-Century Avant-Garde Art, exh. cat. (Cornell University Press/Binghamton University Art Museum, State University of New York, 1996), pp. 52; 55, fig. 37.
Donald Kuspit, “Happiness, Health, and Related Anomalies of Avant-Garde Art,” in Donald Kuspit and Lynn Gamwell, Health and Happiness in 20th-Century Avant-Garde Art, exh. cat. (Cornell University Press/Binghamton University Art Museum, State University of New York, 1996), p. 44.
Genevieve Morgan, ed., Monet: The Artist Speaks (Collins, 1996), pp. 81 (ill.), 95.
Meyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 198–99, fig. 98; 220.
Victor I. Stoichita, A Short History of the Shadow (Reaktion, 1997), pp. 107–08, ill. 36; 109; 208
Warren Adelson, “In the Modernist Camp,” in Sargent Abroad: Figures and Landscapes, by Warren Adelson, Donna Seldin Janis, Elaine Kilmurray, Richard Ormond, and Elizabeth Oustinoff (Abbeville, 1997), pp. 28; 29, pl. 16; 39.
Richard Ormond, “In the Alps,” in Warren Adelson, Donna Seldin Janis, Elaine Kilmurray, Richard Ormond, and Elizabeth Oustinoff, Sargent Abroad: Figures and Landscapes (Abbeville, 1997), p. 100.
Vivian Russell, Monet’s Water Lilies (Little, Brown/Frances Lincoln, 1998), pp. 64–65 (ill.), 93.
George T. M. Shackelford and MaryAnne Stevens, “Water Lilies (Series of Water Landscapes), 1903–1909,” in Paul Hayes Tucker, with George T. M. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London/Museum of Fine Arts, Boston/Yale University Press, 1998), pp. 148; 158 (detail); 159, cat. 32 (ill.).
Paul Hayes Tucker, “The Revolution in the Garden: Monet in the Twentieth Century,” in Paul Hayes Tucker, with George T. M. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London/Museum of Fine Arts, Boston/Yale University Press, 1998), pp. 44–45.
Connaissance des Arts and Pierre Georgel, “Monet: L’art de la métaphore,” Connaissance des arts 561 (May 1999), pp. 44–45, fig. 2.
“Monet, les nymphéas: L’exposition,” special issue, Connaissance des arts, 137 (Société Française de Promotion Artistique, 1999), pp. 14–15, ill. 13.
Pierre Geogel, with the assistance of Chantal Georgel and Jacqueline Séjourné, Monet: Le cycle des Nymphéas, Catalogue sommaire, exh. cat. (Musée National de l’Orangerie/Réunion des Musées Nationaux, 1999), pp. 38; 92, cat. 15 (ill.).
Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 163 (ill.).
Debra N. Mancoff, Monet’s Garden in Art (Viking Studio, 2001), pp. 60 (detail), 66–67 (detail), 143.
Karin Sagner-Düchting, “Monet’s Late Work from the Vantage Point of Modernism,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), p. 25.
Karin Sagner-Düchting, “The Waterlilies in Giverny and the Grande Décoration,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), pp. 68, 76 (ill.).
James Tanaka, Daniel Weiskopf, and Pepper Williams, “The Role of Color in High-Level Vision,” TRENDS in Cognitive Sciences 5, 5 (May 2001), p. 213, fig. 1.
Sothebys, New York, Impressionist and Modern Art, Part One, sale cat. (Sotheby’s, Nov. 5, 2002), pp. 45, fig. 3; 46.
Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 103, 111 (ill.).
Lisa Stein, “Seeing Beyond the Must-Sees,” Chicago Tribune, Apr. 18, 2003, section 7, p. 1 (ill.).
Art Institute of Chicago, The Essential Guide,rev. ed., selected by James N. Wood (Art Institute of Chicago, 2003), p. 246 (ill.)
Margaret Werth, “‘A Long Entwined Effort’: Colonizing Giverny,” in Impressionist Giverny: A Colony of Artists, 1885–1915, ed. Katherine M. Bourguignon, exh. cat. (Terra Foundation for American Art/Musée d’Art Américain Giverny/University of Chicago Press, 2007), p. 70, fig. 13.
Eric M. Zafran, “Monet in America,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 113.
Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 161; 163; 174–75, cat. 91 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 161; 163; 174–75, cat. 91 (ill.).
Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 232 (ill.).
“Cat. 44: Water Lilies, 1906” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470.
Anne-Birgitte Fonsmark and Dorthe Vangsgaard Nielsen, Monet: Beyond Impressionism, exh. cat. (Charlottenlund: Ordrupgaard, 2016) 161, 214, fig. 116.
George T. M. Shackelford, Monet:The Late Years, exh. cat. (New Haven: Yale University Press, 2019), 62-63 (detail ill.), 114, 118 cat. 6, 210
Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), cover ill., 29, 30 fig. 9, 123 cat. 78, 141.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 89 (ill.).
Adriano Pedrosa and Fernando Oliva, eds., Monet’s Ecology, exh. cat. (São Paulo: Museu de Arte de São Paulo Assis Chateaubriand, 2005), 39 fig. 26, 40.
Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, exh. cat. (Beijing: Gu gong chu ban she, 2025), 253 (ill.), cat. 154.
James Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 152, 262, no. 111, (ill.).

Paris, Galeries Durand-Ruel, Les nymphéas: Séries de paysages d’eau par Claude Monet, May 6–June 5, 1909, cat. 15, as Série 1906.
Saint Louis, Noonan-Kocian Gallery, Tableaux Durand-Ruel (circuit exhibition, held Oct. 1911–Jan. 1912); Chicago, Auditorium Hotel; Cincinnati, no cat. no.
Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7–Dec. 12, 1937, cat. 16 (ill.).
Bloomington, Ill., Scottish Rite Temple, Central Illinois Art Exposition, Mar. 19–Apr. 8, 1939, cat. 26.
Chicago, Arts Club of Chicago, Origins of Modern Art, Apr. 2–30, 1940, cat. 63.
Sioux City (Iowa) Art Center, Three Old Masters from Art Institute of Chicago, Sept. 4–end Sept. 1949, no cat.
Pittsburgh, Carnegie Institute, An Experimental Gallery Featuring the Art Historical Background to Impressionism, Oct. 12, 1953–Mar. 31, 1954, no cat.
Wichita (Kans.) Art Museum, Three Centuries of French Painting, May 9–23, 1954, cat. 17.
University of Chicago, Renaissance Society, Painters in Color, Oct. 14–Nov. 14, 1956, no cat.
Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.
Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 110 (ill.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 15 (ill.).
Highland Park, Ill., Neison Harris, July 12–Dec. 19, 1984, no cat.
Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 64 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.
Basel, Kunstmuseum Basel, Claude Monet: Nymphéas, July 20–Oct. 19, 1986, cat. 22 (ill.).
Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago 1893–1993, Nov. 1–Jan. 9, 1994, no cat. no.
Chicago, Art Institute of Chicago, Claude Monet 1840–1926, July 22–Nov. 26, 1995, cat. 130 (ill.).
Boston, Museum of Fine Arts, Monet in the 20th Century, Sept. 20–Dec. 27, 1998, cat. 32 (ill.); London, Royal Academy of Arts, Jan. 23–Apr. 18, 1999; Kunsthaus Zurich, May 6-August 8, 1999.
Paris, Musée National de l’Orangerie, Monet: Le cycle des Nymphéas, May 6–Aug. 2, 1999, cat. 15 (ill.).
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 91 (ill.).
Charlottenlund, Ordrupgaard, Monet: Beyond Impressionism, August 24-December 4, 2016, fig. 106.
San Francisco, De Young Museum, Monet: The Late Years, February 16 - May 27 2019, cat. 6; Fort Worth, Texas, Kimbell Art Museum, June 6 - September 15 2019.
Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 78.
Beijing, Palace Museum, Garden Cultures of China and the West, Apr. 1–June 30, 2025; Suzhou Museum, July 19–Oct. 31, 2025; Ningbo Museum, Dec. 5, 2025–Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23–July 29, 2026.
Beijing, Palace Museum, Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, Apr. 1–June 30, 2025, cat. 154; Suzhou China, Suzhou Museum, July 19–Oct. 31, 2025; Ningbo, China, Ningbo Museum, Dec. 5, 2025–Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23–July 29, 2026.

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.

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On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World

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Artist

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Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Inscriptions

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On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.