The great canvas of the Fondation Beyeler
The Foundation's notice gives the dimensions of 200 × 180 cm, the inventory Inv.03.2 and the Wildenstein number 1854. Its scale envelops the eye much more than an easel study.
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Claude Monet · 1916 -1919 · Fondation Beyeler · W1854
Olive green water lily leaves float on lilac blue water, punctuated with pink and white flowers. No horizon separates the pool from the reflected sky. This large oil on canvas measuring 200 × 180 cm, kept at the Fondation Beyeler under the number Inv.03.2, is Wildenstein 1854.

Look at the work
The large leaves concentrate to the left and lower half, then space out towards the center. On the right, vertical stems and their reflections cross the water like fine writing. Monet shows neither bank nor depth classic perspective: the surface of the pool fills the entire visual field.
The blues, pearly pinks and yellow greens are laid in visible layers. Some shapes are thick and surrounded; others dissolve in clear repeats. The painting thus oscillates between recognizable landscape and almost abstract composition, depending on the distance at which it is observed.
W1854 does not only represent flowers on the water: it superimposes the bottom of the pool, its surface, the plants and the reflected sky in the same pictorial space.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Foundation's notice gives the dimensions of 200 × 180 cm, the inventory Inv.03.2 and the Wildenstein number 1854. Its scale envelops the eye much more than an easel study.
Between 1916 and 1919, Monet radically enlarged his water landscapes. In his workshop, he takes up memories and observations of the pool to create compositions where the motif extends mentally beyond the edges.
The Fondation Beyeler documented the examination of the work and the project to remove an acrylic varnish added during an old restoration. The museum emphasizes that this film modified the matte character and pastel balance sought by Monet.
Reference image
Only one image is used: the documented photograph of the work Inv.03.2, converted into a real WebP of 2,699 × 3,000 px from the source of 3,057 × 3,397 px, without artificial enlargement.
Water lilies should not be distributed evenly. The visual weight is mostly on the left and bottom, while the blue space in the center and top allows the composition to breathe.
Lavender blue, powder pink and olive green remain colored even in the lightest areas. Reproduction that is too white would erase overlays and reflections.
The leaves receive thicker touches and dark contours, while the water is made of smears, repeats and thinner passages. This contrast builds the buoyancy of the pattern.
Documented benchmarks
The Fondation Beyeler documents an oil on canvas from 1916 -1919, 200 × 180 cm, inventory Inv.03.2 and catalog Wildenstein 1854.
After Michel Monet and Wildenstein & Co., the work passed into a private American collection. Acquired by the Beyeler collection in 2001, she joined the Foundation in 2003.
The height of 200 cm transforms the pool into a physical experience. The gaze no longer dominates a small landscape: it is placed facing a surface of water almost on a human scale.
The vertical format, the pile of leaves in the lower part and the reflected stems on the right distinguish this Water Lilies from the many other late versions.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies W1854 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1916 - 1919 |
| Original technique | Oil on canvas |
| Dimensions | 200 × 180 cm |
| Orientation | Vertical, almost square |
| Conservation | Beyeler Foundation, Riehen/Basel, Switzerland |
| Inventory | Inv.03.2 · Wildenstein 1854 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
This harmony of lavender blue, olive green and powder pink is suitable for a bright room where the painting can breathe. An off-white wall, light wood and natural textiles support the softness without competing with the large surface area of water.
Impression d’art sur papier mat Hahnemühle German Etching 310 g, au grain fin. Un rendu précis, élégant et plus accessible, idéal pour les détails et les nuances.
Impression sur toile d’artiste 400 g. Sa texture donne davantage de relief et un aspect tableau, avec plusieurs présentations adaptées au décor.
Reproduction peinte entièrement à la main sur commande. Chaque toile est une pièce unique : ce n’est ni une impression numérique ni un poster sur toile.
Claude Monet
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