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Comprendre les formats
Claude Monet · 1916 -1919 · Metropolitan Museum 1983.532 · W1858
Nearly two meters wide, the water in the pool becomes a very dark blue-green field. Turquoise and purple leaves float among a few red flowers, while long light touches suggest the branches of a willow reflected on the surface. This late version, kept at the Metropolitan Museum, leads the landscape towards an almost abstract painting without losing the presence of water.
Look at the work
The canvas shows no sky directly. On the left, tall cream, lavender and pale blue markings descend between large turquoise leaves. Towards the center, the water lilies become more purple and thin red accents separate them from the background. Depth is constructed by overlap, change of scale and contrast of brightness rather than by a drawn perspective.
The right half is denser. Deep blue, emerald green, purple and brown surround several orange-red flowers. At the bottom, the vertical gestures lengthen then meet a lighter border, left visible in places. This peripheral breathing recalls the progressive construction of the canvas and prevents the dark matter from becoming uniform.
The pool remains recognizable, but each leaf and each reflection has enough autonomy to transform the surface into a color field.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Each water lily combines turquoise, purple, blue and green. A pink or red accent is enough to detach it from the water; a regular line would make the leaves too graphic and cause the vibration of the key to lose its vibration.
Cream and lavender marks fall between groups of leaves instead of sparkling horizontally. Their rhythm must remain irregular in order to suggest the branches without transforming them into a decorative motif.
The background is never black. Prussian blue, deep green, purple and brown overlap, allowing the red flowers to remain bright without being artificially saturated.
Reference image
The only reference image is the Metropolitan Museum's Open Access scan. It measures 3,811 × 2,486 px and has been converted into a real WebP without artificial enlargement.
The 130.2 × 200.7 cm format stretches the groups of leaves and lets the reflections circulate between them. Colorful voids are as important as floating patterns.
A few orange-red flowers are enough to balance the blue-green mass. Their exact position guides the eye across the width without creating regular repetition.
The gestures remain visible and sometimes intersect without completely merging. Oil reproduction must preserve these differences in thickness and direction.
Documented benchmarks
These benchmarks concern the Metropolitan Museum version, inventory 1983.532 and Wildenstein 1858.
The Metropolitan Museum dates this oil on canvas from 1916 -1919 and publishes dimensions of 130.2 × 200.7 cm. The catalog raisonné records it under number 1858.
The museum highlights the fluid and bold language of those years. The Giverny basin is no longer described as a traditional landscape: it becomes the starting point for an exploration of color, surface and reflection.
The Met's credit line indicates that Louise Reinhardt Smith donated the work in 1983. It belongs to the European Paintings Department and is on display in the galleries on Fifth Avenue.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies with willow reflections, Met W1858 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1916 - 1919 |
| Original technique | Oil on canvas |
| Dimensions | 130.2 × 200.7 cm |
| Orientation | Panoramic horizontal |
| Conservation | The Metropolitan Museum of Art, New York, United States |
| Inventory | 1983.532 · Wildenstein 1858 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Midnight blue, emerald green, turquoise, plum purple and coral red give this panoramic reproduction a deep presence. It is suitable for a wide wall, above a sofa or low sideboard, with soft side light.
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.
Explore the topics and styles associated with this reproduction.
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A pigment print on Hahnemühle German Etching 310 gsm paper. Its matte, finely textured surface brings out detail and subtle colour. This is a print, not a hand-painted canvas.
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A pigment print on Hahnemühle German Etching 310 gsm paper. Its matte, finely textured surface brings out detail and subtle colour. This is a print, not a hand-painted canvas.
A slim, traditional frame that keeps attention on the artwork.
A pigment print on Hahnemühle German Etching 310 gsm paper. Its matte, finely textured surface brings out detail and subtle colour. This is a print, not a hand-painted canvas.
Choose a Box frame for a deeper profile and a more pronounced presence on the wall.
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Your artwork printed on 400 gsm artist canvas. The woven texture adds depth, with a choice of rolled, stretched or floating-frame presentation. This is a print, not an oil painting.
Not ready to hang: have it stretched or framed locally before displaying it.
Your artwork printed on 400 gsm artist canvas. The woven texture adds depth, with a choice of rolled, stretched or floating-frame presentation. This is a print, not an oil painting.
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An artist recreates your chosen artwork by hand in oil paint on canvas. Brushwork and small variations make each reproduction individual; it is not a digital print.
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An artist recreates your chosen artwork by hand in oil paint on canvas. Brushwork and small variations make each reproduction individual; it is not a digital print.
Choose your own local framer to prepare the finished painting for display.
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