Two fallout from willow that closes the sides
Verticals should not become uniform lines. Their length, color and spacing are constantly changing, from almost black green to turquoise and purple.
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 · 1916 -1919 · Marmottan Monet Museum · W1852
Two willow curtains descend on lilac water, blue and pearly white. Between them, the floating leaves become rarer before regrouping in the foreground around pink flowers. In this canvas of almost two meters, Monet removes the bank and the horizon: the light, the branches and their reflections occupy the same unstable space.

Look at the work
The composition is held together by the long dark green verticals placed near both edges. They do not describe complete trees: neither trunk, nor ground, nor branch start are visible. On the left, the marks are spaced apart and allow bluish grays to breathe; on the right, they tighten into a denser curtain which goes down almost to the bottom of the canvas.
In the center, cream and purple clouds appear to float in the water. A few light green leaves occupy the distance, then the water lilies grow towards the foreground. The pink flowers concentrate in the lower third and give scale to the surface. The transition from cold purple to deep blue under the leaves is enough to suggest the depth of the pool.
Monet no longer paints a garden panorama: he holds the real branches, their reflection, the clouds and the floating flowers in the same surface.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.

Verticals should not become uniform lines. Their length, color and spacing are constantly changing, from almost black green to turquoise and purple.
The cream, pale pink and blue-gray areas are not a void. They are made of superimposed touches which evoke clouds while remaining materially present on the canvas.
The top leaves are small and isolated; the bottom ones overlap and bear stronger pink flowers. This progression replaces the traditional perspective.
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 1,500 × 1,122 px. An actual photograph of the Monet Room provided a native crop of 1,800 × 1,300 px; the detail of 900 × 800 px comes directly from the digital original. No files have been artificially enlarged and 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 Marmottan Monet Museum dates this oil on canvas from 1916 -1919 and indicates a format of 150 × 197 cm. The work bears the stamp of the workshop at the bottom right and corresponds to number 1852 of the Wildenstein catalog raisonné.
The museum notice recalls that Monet had placed four weeping willows called "from Babylon" around his pond. In the late views, the trunk and the bank gradually disappear, until identification from a single point of view is impossible.
Remaining in the Giverny studio collection after the painter's death, the painting entered the Marmottan Monet Museum thanks to the legacy of his son Michel in 1966, which constitutes the heart of Monet's first world collection of works.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Water lilies, Marmottan Monet Museum W1852 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1916 - 1919 |
| Original technique | Oil on canvas |
| Dimensions | 150 × 197 cm |
| Orientation | Panoramic horizontal |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | inv. 5164 · Wildenstein 1852 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Misty blue, lilac, deep green, soft pink and pearly white create a calm atmosphere without being pale. This panoramic reproduction is suitable for a wide wall, with light wood, linen, gray greens and soft side light that reveals cold layers.
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