Two flowers connected by a diagonal
The tall flower and the low flower are neither the same size nor the same orientation. Their offset structures the entire length of the canvas and must remain clearly perceptible.
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 · around 1897 -1898 · Kagoshima · W1506
Two white flowers illuminate midnight blue water covered with large leaves. Nothing reveals the shore, sky or depth of the garden: the canvas is almost entirely occupied by the dark surface of the pond. This work by Kagoshima belongs to the first oil-painted Water Lilies and retains a more direct observation of plants than the vast late compositions.

Look at the work
The first flower is placed in the upper third, slightly to the right of the center; the second, lower and more open, shifts to the left. Their diagonal avoids any symmetry. Around them, the leaves overlap without regular alignment. Some are drawn by a blue circle, others almost disappear in black greens, while some purple edges suggest the movement of light.
The background is never a simple dark solid. Monet superimposes Prussian blues, purples, bottle green and silver-gray traces that revolve around the leaves. The white petals themselves contain blue, mauve and an orange-yellow heart. The small yellow signature, at the bottom right, closes the composition without competing with the flowers.
By removing any horizon, Monet transforms a very precise botanical observation into a color field where each leaf seems to appear and then dissolve.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.

The tall flower and the low flower are neither the same size nor the same orientation. Their offset structures the entire length of the canvas and must remain clearly perceptible.
Large discs are not surrounded evenly. Some edges are affirmed by a light blue, others blend into the water; this alternation gives the pool its depth.
Cool blue, purple, black green and warm brown intersect between the water lilies. Distinguishing them is essential for reproduction to retain its vibration instead of turning black.
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 best documented native scan of this version measures 1163 × 783 px. The two details of 600 × 500 px and 700 × 740 px are taken directly from this file, without artificial enlargement. The three media are real controlled and decodable WebPs.
Documented benchmarks
These facts concern this precise version and are verified from the notice of the institution which keeps it.
The Kagoshima City Museum of Art dates these Water Lilies to around 1897 -1898. The oil on canvas measures 89 × 130 cm and corresponds to number 1506 of the Wildenstein catalog raisonné.
The museum presents this painting as one of the first oil paintings of the vast ensemble of Water Lilies. It remains more graphic and closer to observation than late works, where the motif becomes more and more abstract.
Monet creates the work in his water garden in Giverny. The leaves, the two flowers and the subtle changes of light show that he already studies the basin as an autonomous world, without needing to represent the shore.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies, Kagoshima W1506 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | Around 1897 -1898 |
| Original technique | Oil on canvas |
| Dimensions | 89 × 130 cm |
| Orientation | Horizontal |
| Conservation | Kagoshima City Museum of Art, Kagoshima, Japan |
| Inventory | Wildenstein 1506 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Midnight blue, purple, deep green, bluish white and discreet yellow give this reproduction a calm and enveloping presence. Its horizontal format is suitable above a sofa, console or bed, with dark woods, gray linen and soft light.
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