A mass of leaves organized diagonally
Water lilies do not form a uniform carpet. Their density decreases from the top left towards the center, creating an oblique thrust that the original right part was to extend.
Canvas reproduction
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Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · 1917 -1919 · Marmottan Monet Museum · W1888/1
A sheet of olive green leaves and red flowers juts out from the left, while a large purple reflection opens the right side. At the bottom, a large, almost white leaf seems isolated in the water. This spectacular asymmetry can also be explained by the material history of the canvas: damaged during the Second World War, it lost around eighty centimeters on its right side.

Look at the work
Leaves accumulate from the upper left corner and form a wide diagonal towards the center. The red flowers, small but saturated, are grouped in irregular foci. Beneath them, the greens change from moss yellow to deep blue; purple lines and a few whites break the masses without drawing each leaf separately.
The right half is much more open. Long lavender, gray and green layers descend into the water, crossed by darker reflections. The large light leaf at the bottom right now seems close to the edge; the old photograph described by the museum shows that it was at the base of a composition which extended much further to the right.
The current edge is part of the history of the work: understanding the lost part allows us to read the large diagonal left by Monet differently.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.

Water lilies do not form a uniform carpet. Their density decreases from the top left towards the center, creating an oblique thrust that the original right part was to extend.
The flowers are placed in touches of carmine and coral above olive greens, yellows and blues. Their rarity and distribution must remain faithful to maintain the rhythm.
Right is not a plain background. Purple, warm gray, green and blue alternate in long layers which circulate the water behind the leaves.
Details and visual documents
The additional images show the difficult-to-read passages in the full view and, where it exists, the actual appearance of the work at the museum.


The reference view measures 1500 × 1632 px. The actual photograph of the room provided a native framing of 1500 × 1150 px and the detail measures 900 × 1000 px. No files have been artificially enlarged; all three media are true decodable WebPs.
Documented benchmarks
These facts concern this precise version and are verified from the notice of the institution which keeps it.
The museum dates the work from 1917 -1919, indicates an oil on canvas measuring today 130 × 120 cm and indicates the stamp of the workshop at the bottom left. It corresponds to number 1888/1 of the Wildenstein catalog raisonné.
Although Giverny's paintings were sheltered, some were hit by shrapnel during World War II. The Marmottan Monet Museum specifies that this painting lost approximately eighty centimeters from its right part.
The museum archives and a version preserved in Switzerland make it possible to restore the initial organization: the diagonal coming from the lower left began a curve to the right and led the gaze to the nymphéa today close to the lower edge.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Water Lily Basin, Marmottan W1888/1 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1917 - 1919 |
| Original technique | Oil on canvas |
| Dimensions | 130 × 120 cm in its current state |
| Orientation | Vertical, composition now truncated |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | inv. 5165 · Wildenstein 1888/1 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Olive green, coral red, mauve, deep blue and moss yellow give this reproduction a dense and contemporary presence. Its vertical format is suitable for a narrow wall or living room composition, with natural materials and side light that reveals impasto.
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