Water Lily Pond

Possibly Basel, Kunsthalle Basel, Impressionisten: Monet, Pissarro, Sisley, Vorläufer und Zeitgenossen, Sept. 3–Nov. 20, 1949, cat. 203. Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, Sept. 20–Oct. 27, 1963, no cat. no. (ill.). Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 121 (ill.). Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 148 (ill.). Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 92 (ill.). New York, Gagosian Gallery, Claude Monet: Late Work, May 1–June 26, 2010, no cat. no. (ill.). San Francisco, De Young Museum, "Monet: The Late Years", February 16 - May 27 2019, cat. 27; Fort Worth, Texas, Kimbell Art Museum, June 6 - September 15 2019. Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 81.

Kunsthalle Basel, Impressionisten: Monet, Pissarro, Sisley, Vorläufer und Zeitgenossen, exh. cat. (Kunsthalle Basel, [1949]), p. 36, cat. 203. Art Institute of Chicago, Chicago Collectors: An Exhibition Sponsored by the Men’s Council of the Art Institute, exh. cat. (Art Institute of Chicago, [1963]), pp. 4; 52, pl. 41. Denis Rouart and Jean-Dominique Rey, Monet, nymphéas, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 174 (ill). Translated by David Radzinowiczas Monet, Water Lilies: The Complete Series, rev. ed., with a cat. rais. by Julie Rouart with Camille Sourisse (Flammarion/Rizzoli, 2008), p. 141 (ill.). Susan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 178, cat. 121 (ill.). “Chicago Gets New Monet to Splash In,” Chicago (Oct. 1982). Art Institute of Chicago, “Acquisitions,” Mosaic (Nov.–Dec. 1982), p. 6 (ill.). Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné, vol. 4, Peintures, 1899–1926 (Bibliothèque des Arts, 1985), pp. 288; 289, cat. 1889 (ill.). Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 66; 105, pl. 34; 109. Charles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840–1926, exh. cat. (Art Institute of Chicago/Thames & Hudson, 1995), pp. 171, cat. 148 (ill.); 247. Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 415, cat. 1889 (ill.). Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 4, Nos. 1596–1983 et les grandes décorations (Taschen/Wildenstein Institute, 1996), pp. 896–97, cat. 1889 (ill.). Paul Hayes Tucker, with George T. M. Shackelford and Mary Anne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London/Museum of Fine Arts, Boston/Yale University Press, 1998), pp. 68–69, fig. 50 (ill.); 218. Renate and Paul Woudhuysen-Keller, “Claude Monet’s Series L’Allée de Rosiers: History, Materials, Painting Technique—Removal of Over-paint,” in Monet: Atti del convegno, ed. Rodolphe Rapetti, Mary Anne Stevens, Michael Zimmerman, and Marco Goldin (Linea d’Ombra, 2003), p. 160, n. 8. Alan G. Artner, “Art Institute given major Monet work,” Chicago Tribune, Aug. 25, 2005, section 5, p. 6 (ill.). Gloria Groom, “Water Lily Pond,” in “Notable Acquisitions at the Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 32, 1 (2006), pp. 60 (ill.), 61 (detail), 95. Joseph Baillio, “Katia Granoff (1895–1989): Champion of the Late Works of Claude Monet,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), pp. 39, fig. 12; 41. James A. Ganz and Richard Kendall, The Unknown Monet: Pastels and Drawings, exh. cat. (Sterling and Francine Clark Art Institute/ Yale University Press, 2007), pp. 268; 269, fig. 273, 270. Eric M. Zafran, “Monet in America,” in Wildenstein and Co., Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 140. Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 25 (ill.); 163; 176–77, cat. 92 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 25 (ill.); 163; 176–77, cat. 92 (ill.). Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), pp. 228–29, fig. 15.7. Paul Hayes Tucker, ed., Claude Monet: Late Work, exh. cat. (Gagosian Gallery, 2010), pp. 64–65 (ill.); 113. Paul Hayes Tucker, “Monet: Public and Private,” in Claude Monet: Late Work, ed. Paul Tucker, exh. cat. (Gagosian Gallery, 2010), p. 35. “Cat. 47: Water Lily Pond, 1917/19” in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470. George T. M. Shackelford, Monet:The Late Years, exh. cat. (New haven: Yale University Press, 2019), 154, 155 cat. 27, 212. Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 20, 30, 34, 126 cat. 81, 142.