Duvet Cover 117 Water Lilies 1906 by Claude Monet by Palazzo Art Gallery

1906

Claude Monet
French, 1840-1926

"One instant, ane attribute of nature contains it all," said Claude Monet, referring to his late masterpieces, the water landscapes that he produced at his home in Giverny betwixt 1897 and his death 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'south love ﬂower garden, which featured a water garden and a smaller pond spanned past a Japanese footbridge. In his first h2o-lily series (1897–99), Monet painted the swimming environment, with its plants, bridge, and trees neatly divided past a fixed horizon. Over time, the artist became less and less concerned with conventional pictorial infinite. By the fourth dimension he painted Water Lilies, which comes from his third grouping of these works, he had dispensed with the horizon line altogether. In this spatially ambiguous canvas, the artist looked downward, 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 1.

Condition: On View, Gallery 243
Section: Painting and Sculpture of Europe

Artist: Claude Monet
Title: H2o Lilies
Place: France (Object made in)
Engagement: 1906
Medium: Oil on canvass
Inscriptions: Inscribed at lower correct: Claude Monet 1906
Dimensions: 89.9 × 94.1 cm (35 3/eight × 37 1/16 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1157
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Toledo Museum of Art, Catalogue: Paintings by French Impressionists and Postal service-Impressionists (Toledo Museum of Art, 1937), cat. 16 (ill.).
George Slocombe, "Giver of Light," Coronet (Mar. 1938), p. 26 (ill.).
Scottish Rite Temple, Primal Illinois Fine art Exposition, exh. cat. (Scottish Rite Temple, 1939), p. xiii, cat. 26.
Arts Guild of Chicago, Origins of Modern Art, exh. true cat. (Arts Social club of Chicago, 1940), p. xv, true cat. 63.
Oscar Reuterswärd, Monet: En konstnärshistorik (Bonniers, 1948), p. 288.
Wichita Art Museum, Three Centuries of French Painting, exh cat. (Wichita Fine art Museum, 1954), p. three, true cat. 17.
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Susan Wise, ed., Paintings by Monet, exh. cat. (Fine art Found of Chicago, 1975), p. 167, cat. 110 (ill.).
Grace Seiberling, Monet's Serial (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 (sick.).
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Christian Geelhaar, et al., Claude Monet: Nymphéas, Impression, Vision, exh. cat. (Kunstmuseum Basel, 1986), pp. 52, true cat. 22 (sick.); 173.
Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111; 115 (sick.); 118.
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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 Piece of work," in New Orleans Museum of Art and Fine Arts Museums of San Francisco, Monet: Late Paintings of Giverny from the Musée Marmottan, exh. true cat. (New Orleans Museum of Art/Fine Arts Museums of San Francisco/Abrams, 1995), pp. 37, fig. x; twoscore.
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Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), p. 764, cat. 1638 (sick.); 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 Advanced Art, exh. cat. (Cornell University Press/Binghamton University Art Museum, Land 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 Fine art, exh. cat. (Cornell Academy Printing/Binghamton University Art Museum, State Academy 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. 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 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. true cat. (Imperial Academy of Arts, London/Museum of Fine Arts, Boston/Yale University Press, 1998), pp. 148; 158 (particular); 159, cat. 32 (ill.).
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Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), cover sick., 29, 30 fig. 9, 123 cat. 78, 141.

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, November. 7–Dec. 12, 1937, true cat. 16 (ill.).
Bloomington, Ill., Scottish Rite Temple, Central Illinois Art Exposition, Mar. 19–April. eight, 1939, true cat. 26.
Chicago, Arts Club of Chicago, Origins of Mod Art, Apr. two–30, 1940, cat. 63.
Sioux City (Iowa) Art Center, Three Old Masters from Art Found of Chicago, Sept. 4–end Sept. 1949, no cat.
Pittsburgh, Carnegie Institute, An Experimental Gallery Featuring the Art Historical Background to Impressionism, October. 12, 1953–Mar. 31, 1954, no cat.
Wichita (Kans.) Fine art Museum, 3 Centuries of French Painting, May 9–23, 1954, true cat. 17.
Academy of Chicago, Renaissance Lodge, Painters in Color, Oct. xiv–November. 14, 1956, no true cat.
Fine art Institute of Chicago, The Paintings of Claude Monet, April. 1–June xv, 1957, no true cat. no.
Fine art Institute of Chicago, Paintings past Monet, Mar. 15–May eleven, 1975, cat. 110 (sick.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. fifteen (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 Fine art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. thirteen, 1986.
Basel, Kunstmuseum Basel, Claude Monet: Nymphéas, July 20–Oct. 19, 1986, cat. 22 (ill.).
Art Institute of Chicago, Chicago'southward Dream, a World's Treasure: The Fine art Establish of Chicago 1893–1993, November. 1–Jan. 9, 1994, no true cat. no.
Chicago, Art Constitute of Chicago, Claude Monet 1840–1926, July 22–November. 26, 1995, cat. 130 (ill.).
Boston, Museum of Fine Arts, Monet in the 20th Century, Sept. 20–December. 27, 1998, cat. 32 (ill.); London, Imperial Academy of Arts, Jan. 23–Apr. 18, 1999; Kunsthaus Zurich, May 6-Baronial 8, 1999.
Paris, Musée National de l'Orangerie, Monet: Le bike des Nymphéas, May 6–Aug. 2, 1999, cat. 15 (sick.).
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, Baronial 24-December 4, 2016, fig. 106.
San Francisco, De Young Museum, Monet: The Late Years, February sixteen - 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.

The artist (d. 1926); sold to Durand-Ruel, Paris (3/iv 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), 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 [come across previous: the Durand-Ruel Archives notes that "the apparent chronological anomaly betwixt 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–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 Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; on eolith to Durand-Ruel, New York, April. 1911 [per Durand-Ruel, New York, deposit book for 1894–1925 (no. 7606, as Les nymphéas, paysage d'eau, série de 1906), every bit confirmed past Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Athenaeum, to the Fine art Institute of Chicago, February. 21, 2013, curatorial object file]; sold to Durand-Ruel, New York, Feb. x, 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 Plant of Chicago, February. 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 [come across previous; also a buy receipt on Durand-Ruel letterhead, dated February 10, 1914, details that this painting (no. 3768, Monet, Les nymphéas, paysage d'eau, 1906) was caused 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) (true cat. 39) for $twenty,000, photocopy in curatorial object file]; bequeathed past to the Fine art Institute of Chicago, 1933.

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