An exact version of the Ryerson collection
The Art Institute of Chicago preserves this oil on canvas under inventory 1933.1157. It belongs to the Mr. and Mrs. Martin A. Ryerson Collection and corresponds to number 1683 of the Wildenstein catalog.
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Claude Monet · 1906 · Chicago 1933.1157 · W1683
The Giverny basin fills an almost square canvas where no bank fixes the space. Groups of water lilies are distributed around a large turquoise blue area, while purple and green reflections alternate surface and depth. Signed and dated 1906, this version is kept at the Art Institute of Chicago.

Look at the work
Monet places the water lilies near the four edges and lets the center breathe. The leaves at the top form a distant band, those on the right advance diagonally and the large group at the bottom left almost seems to come out of the frame. This circulation prevents the composition from becoming symmetrical.
The blue of the water is never plain: it slides towards green, purple and gray. Under the leaves, vertical touches suggest the reflected trees; around the pink, white and yellow flowers, lighter impasto asserts the floating surface.
W1683 transforms a horizontal surface into a vertical painting: the eye looks down at the pool from above while plunging into its reflections.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Art Institute of Chicago preserves this oil on canvas under inventory 1933.1157. It belongs to the Mr. and Mrs. Martin A. Ryerson Collection and corresponds to number 1683 of the Wildenstein catalog.
The museum emphasizes that Monet no longer represents the bridge, the banks or the surrounding garden. Floating vegetation and reflections are enough to create an ambiguous space, both flat as a surface and deep as a landscape.
The words "Claude Monet 1906" appear at the bottom right. The date places the work in the third group of water landscapes, before the major exhibition of forty-eight Water Lilies at Durand-Ruel in 1909.
Reference image
Only one image is used: the CC0 file from the Art Institute of Chicago, converted into a real WebP of 3,000 × 2,887 px, without artificial enlargement.
The large area of open water is essential. Water lilies must maintain their distances and directions in order to guide the gaze around the center without filling it.
The palette combines light blues with very saturated greens in the leaves. Purples give depth to reflections; roses remain bright accents.
Water lilies require thicker and more fragmented material. Water is built by wider passages, sometimes transparent, which allow colors to mingle without becoming uniform.
Documented benchmarks
The Art Institute of Chicago record identifies this 1906 version as inventory 1933.1157; the catalog raisonné gives it the Wildenstein number 1683.
This oil on canvas measures 89.9 × 94.1 cm. It is signed and dated 1906 at the bottom right, which allows it to be precisely distinguished from the many neighboring versions.
The painting belongs to the collection of Martin A. and Carrie Ryerson. He entered the museum in 1933 with an important collection of impressionist works.
Monet looks down at the water then transposes this horizontal expanse onto an erect canvas. The floating leaves hold the surface while the reflections open an optical depth.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies W1683 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1906 |
| Original technique | Oil on canvas |
| Dimensions | 89.9 × 94.1 cm |
| Orientation | Almost square |
| Conservation | Art Institute of Chicago, Chicago, United States |
| Inventory | 1933.1157 · Wildenstein 1683 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Turquoise, green and purple give this reproduction a fresh and enveloping presence. Its almost square format is suitable for a living room, bedroom or reading space with light oak, ecru linen and deep blue accents.
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.
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Best for fine detail
A precise pigment print on finely textured Hahnemühle German Etching 310 gsm paper.
Ideal for nuanced detail, subtle tones and an elegant paper finish.
Most decorative
A rich pigment print on heavyweight artist canvas with the depth and presence of a ready-to-display piece.
Ideal when you want texture, depth and a strong decorative presence.
Most handcrafted
A unique reproduction painted entirely by hand in oils on canvas, with natural variations in every brushstroke.
Ideal for the singular presence and living texture of a handmade painting.
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