Monet Princeton Art Museum Water Lilies and Japanese Bridge

1906

Claude Monet
French, 1840-1926

"One instant, one aspect of nature contains it all," said Claude Monet, referring to his late masterpieces, the water landscapes that he produced at his home in Giverny between 1897 and his expiry in 1926. These works replaced the varied contemporary subjects he had painted from the 1870s through the 1890s with a single, timeless motif—water lilies. The focal point of these paintings was the artist's beloved ﬂower garden, which featured a water garden and a smaller swimming spanned past a Japanese footbridge. In his first h2o-lily series (1897–99), Monet painted the pond surround, with its plants, span, and trees neatly divided past a fixed horizon. Over time, the artist became less and less concerned with conventional pictorial space. By the time he painted Water Lilies, which comes from his tertiary group of these works, he had dispensed with the horizon line altogether. In this spatially ambiguous canvas, the artist looked down, focusing solely on the surface of the pond, with its cluster of vegetation ﬂoating amid the reﬂection of sky and trees. Monet thus created the image of a horizontal surface on a vertical i.

Status: On View, Gallery 243
Department: Painting and Sculpture of Europe

Artist: Claude Monet
Title: H2o Lilies
Place: French republic (Object fabricated in)
Date: 1906
Medium: Oil on canvas
Inscriptions: Inscribed at lower right: Claude Monet 1906
Dimensions: 89.9 × 94.1 cm (35 three/8 × 37 1/16 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1157
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Toledo Museum of Fine art, Catalogue: Paintings past French Impressionists and Post-Impressionists (Toledo Museum of Fine art, 1937), cat. 16 (sick.).
George Slocombe, "Giver of Calorie-free," Coronet (Mar. 1938), p. 26 (ill.).
Scottish Rite Temple, Central Illinois Art Exposition, exh. cat. (Scottish Rite Temple, 1939), p. xiii, cat. 26.
Arts Lodge of Chicago, Origins of Modern Art, exh. cat. (Arts Club of Chicago, 1940), p. 15, true cat. 63.
Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 288.
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Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111; 115 (ill.); 118.
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Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. true cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 152, cat. 130 (ill.); 241; 243.
Paul Hayes Tucker, "Passion and Patriotism in Monet's Belatedly 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; twoscore.
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 Plant, 1996), p. 764, cat. 1638 (ill.); 765.
James North. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Establish of Chicago, 1996), p. 11 (sick.).
Lynn Gamwell, "Arcadian Impulses in Avant-garde Art," in Donald Kuspit and Lynn Gamwell, Wellness and Happiness in 20th-Century Avant-garde Art, exh. cat. (Cornell Academy Printing/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 Advanced Art, exh. true cat. (Cornell University Printing/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, sick. 36; 109; 208
Warren Adelson, "In the Modernist Camp," in Sargent Abroad: Figures and Landscapes, past Warren Adelson, Donna Seldin Janis, Elaine Kilmurray, Richard Ormond, and Elizabeth Oustinoff (Abbeville, 1997), pp. 28; 29, pl. xvi; 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 H2o Lilies (Picayune, Brown/Frances Lincoln, 1998), pp. 64–65 (sick.), 93.
George T. G. Shackelford and MaryAnne Stevens, "Water Lilies (Series of Water Landscapes), 1903–1909," in Paul Hayes Tucker, with George T. Yard. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. true 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 Printing, 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. thirteen.
Pierre Geogel, with the aid 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 Fine art Found of Chicago, selected by James N. Woods (Art Institute of Chicago/Hudson Hills, 2000), p. 163 (ill.).
Debra Northward. Mancoff, Monet'southward Garden in Fine 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.
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James Tanaka, Daniel Weiskopf, and Pepper Williams, "The Part of Color in Loftier-Level Vision," TRENDS in Cognitive Sciences v, 5 (May 2001), p. 213, fig. 1.
Sothebys, New York, Impressionist and Modern Fine art, Part Ane, sale cat. (Sotheby's, November. 5, 2002), pp. 45, fig. iii; 46.
Debra N. Mancoff, Monet: Nature into Fine art (Publications International, 2003), pp. 103, 111 (ill.).
Lisa Stein, "Seeing Beyond the Must-Sees," Chicago Tribune, Apr. xviii, 2003, section 7, p. 1 (ill.).
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Margaret Werth, "'A Long Entwined Attempt': Colonizing Giverny," in Impressionist Giverny: A Colony of Artists, 1885–1915, ed. Katherine Chiliad. Bourguignon, exh. cat. (Terra Foundation for American Fine art/Musée d'Art Américain Giverny/University of Chicago Press, 2007), p. 70, fig. 13.
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Paris, Galeries Durand-Ruel, Les nymphéas: Séries de paysages d'eau par Claude Monet, May vi–June 5, 1909, cat. 15, equally Série 1906.
Saint Louis, Noonan-Kocian Gallery, Tableaux Durand-Ruel (circuit exhibition, held Oct. 1911–January. 1912); Chicago, Auditorium Hotel; Cincinnati, no cat. no.
Toledo (Ohio) Museum of Fine art, Paintings past French Impressionists and Post-Impressionists, Nov. 7–Dec. 12, 1937, cat. sixteen (ill.).
Bloomington, Sick., Scottish Rite Temple, Central Illinois Art Exposition, Mar. 19–April. 8, 1939, cat. 26.
Chicago, Arts Gild of Chicago, Origins of Modern Art, Apr. 2–thirty, 1940, true cat. 63.
Sioux Urban center (Iowa) Art Center, Three Old Masters from Art Plant of Chicago, Sept. 4–end Sept. 1949, no cat.
Pittsburgh, Carnegie Institute, An Experimental Gallery Featuring the Fine art Historical Background to Impressionism, October. 12, 1953–Mar. 31, 1954, no cat.
Wichita (Kans.) Art Museum, Three Centuries of French Painting, May 9–23, 1954, true cat. 17.
University of Chicago, Renaissance Club, Painters in Color, Oct. 14–November. xiv, 1956, no true cat.
Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no true cat. no.
Art Establish of Chicago, Paintings past 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. nineteen, 1984, no true cat.
Tokyo, Seibu Museum of Fine art, Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–December. 17, 1985, true cat. 64 (ill.); Fukuoka Art Museum, Jan. five–Feb. 2, 1986; Kyoto Municipal Museum of Fine art, Mar. 4–April. 13, 1986.
Basel, Kunstmuseum Basel, Claude Monet: Nymphéas, July 20–Oct. nineteen, 1986, true cat. 22 (sick.).
Fine art Institute of Chicago, Chicago's Dream, a World's Treasure: The Art Institute of Chicago 1893–1993, November. 1–Jan. ix, 1994, no cat. no.
Chicago, Art Found of Chicago, Claude Monet 1840–1926, July 22–Nov. 26, 1995, cat. 130 (sick.).
Boston, Museum of Fine Arts, Monet in the 20th Century, Sept. twenty–December. 27, 1998, cat. 32 (sick.); London, Royal Academy of Arts, Jan. 23–Apr. eighteen, 1999; Kunsthaus Zurich, May 6-August viii, 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. ii, 2008, true cat. 91 (ill.).
Charlottenlund, Ordrupgaard, Monet: Across Impressionism, August 24-December 4, 2016, fig. 106.
San Francisco, De Young Museum, Monet: The Late Years, Feb 16 - May 27 2019, cat. 6; Fort Worth, Texas, Kimbell Art Museum, June half-dozen - September 15 2019.
Art Plant of Chicago, Monet and Chicago, September 5, 2020-June fourteen, 2021, cat. 78.

The artist (d. 1926); sold to Durand-Ruel, Paris (3/4 interest), and Bernheim-Jeune, Paris (i/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), every bit confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Fine art Found of Chicago, February. 21, 2013, curatorial object file]; sold to Henri Bernstein, Paris, May 29, 1909, for xx,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. nine, 1909, for 20,000 francs [per Durand-Ruel, Paris, stock book for 1901–thirteen (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 Fine art Institute of Chicago, February. 21, 2013, curatorial object file]; on eolith 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 past Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Athenaeum, to the Fine art Establish 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 volume for 1904–24 (no. 3768, equally 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 past Durand-Ruel, New York, to Martin A. Ryerson (d. 1932), Chicago, Feb. 10, 1914, for $5,000 [run into previous; also a buy receipt on Durand-Ruel letterhead, dated Feb 10, 1914, details that this painting (no. 3768, Monet, Les nymphéas, paysage d'eau, 1906) was caused by M. A. Ryerson, in addition to ii 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 by to the Art Institute of Chicago, 1933.

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