Water Lily Pond

The artist (d. 1026)

Art Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 75.

Gloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 29 fig. 8, 32 fig. 11, 120 cat. 75, 141.

George T.M. Shackelford, Monet: The Late Years, exh. cat. (New Haven: Yale University Press, 2019), 165, 169 fig. 171.

Birmingham, United Kingdom, The Barber Institute of Fine Arts, June 24, 2017 - September 10, 2017.

Marianne Mathieu and Sophie Matthiesson, Monet’s Garden, Musée Marmottan Monet, Paris, exh. cat. (National Gallery of Victoria, 2013), pp. 126 (ill.), 173.

however, in the 2013 correspondence cited above, the Durand-Ruel Archives explained, “We have not found such information in our archives.”]. Annie Swan Coburn, Chicago (d. 1932), by 1933

Melbourne, National Gallery of Victoria, Monet’s Garden: The Musée Marmottan Monet, Paris, May 10–Sept. 8, 2013, no cat. no. (ill.).

Mary Mathews Gedo, Monet and His Muse: Camille Monet in the Artist’s Life (University of Chicago Press, 2010), p. 221, fig. 15.1.

Michel Draguet, Les Nymphéas: Monet; Grandeur; Nature (Hazan, 2010), p. 4, fig. 10.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 90 (ill.).

Alec Mishory, Still Life: From Represented Objects to Real Objects, vol. 1 (Open University of Israel, 2008), pp. 241, fig. 208; 292.

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. 15 (ill.); 19 (ill.); 20 (ill.); 22; 161; 163; 167; 172 (detail); 173, cat. 90 (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. 15 (ill.); 19 (ill.); 20 (ill.); 22; 161; 163; 167; 172 (detail); 173, cat. 90 (ill.).

Michael Sciarrillo and Scott Aker, “Drawing as Insight into Wholeness,” Journal for Geometry and Graphics 12, 1 (2008), pp. 87; 89; 91, fig. 1.

Jon Kear, The Treasures of the Impressionists (Andre Deutsch, 2008), pp. 66 (ill.), 72.

Françoise Cachin, “Claude Monet, Le pont japonais, sur le basin des nymphéas,” in L’impressionnisme, de France et d’Amérique: Monet, Renoir, Sisley, Degas . . . , ed. Françoise Cachin and Richard R. Brettell, exh. cat. (Artlys/Musée Fabre/Musée de Grenoble, 2007), p. 140.

Debra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 96–97 (ill.), 128.

Karin Sagner-Düchting, “Monet’s Late Work from the Vantage Point of Modernism,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), p. 25.

Karin Sagner-Düchting, “The Waterlilies in Giverny and the Grande Décoration,” in Monet and Modernism, ed. Karin Sagner-Düchting, exh. cat. (Prestel, 2001), pp. 66, 73 (ill.).

Christie’s, London, Impressionist and Post-Impressionist Art, sale cat. (Christie’s, June 18, 2000), p. 48, fig. 2.

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 159 (ill.).

Pierre Georgel, Claude Monet: Nymphéas (Hazan, 1999), pp. 8, 32 (ill.).

Christopher Yetton, Monet in the 20th Century: An Introduction, exh. cat. (Royal Academy of Arts, London, 1999), pp. 30, cat. 1 (ill.); 31 (detail).

Pierre Georgel with Chantal Georgel and Jacqueline Séjourné, Monet: Le cycle des “Nymphéas,” exh. cat. (Réunion des Musées Nationaux, 1999), pp. 31; 81, cat. 6 (ill.).

“Monet, les nymphéas: L’exposition,” special issue, Connaissance des arts 137 (1999), pp. 62–63, ill. 59.

Paris, Musée National de l’Orangerie, Monet: Le cycle des “Nymphéas,” May 6–Aug. 2, 1999, cat. 6 (ill.).

Boston, Museum of Fine Arts, Monet in the 20th Century, Sept. 20–Dec. 27, 1998, cat. 1 (ill.); London, Royal Academy of Arts, Jan. 23–Apr. 18, 1999; Kunsthaus Zurich, May 6-August 8, 1999.

Paul Hayes Tucker, “The Revolution in the Garden: Monet in the Twentieth Century,” in Paul Hayes Tucker, with George T. M. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London; Museum of Fine Arts, Boston/Yale University Press, 1998), p. 32.

James G. Ravin, “Artistic Vision in Old Age: Claude Monet,” in Michael F. Marmor and James G. Ravin, The Eye of an Artist (Mosby, 1997), p. 169, fig. 14.1.

Genevieve Morgan, ed., Monet: The Artist Speaks (Collins, 1996), pp. 85 (ill.), 95.

Daniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen/Wildenstein Institute, 1996), p. 353.

Philip Sandblom, Creativity and Disease: How Illness Affects Literature, Art and Music, rev. ed. (Marion Boyars, 1995), pp. 131, pl. 52; 203.

Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 114 (ill.).

Paul Hayes Tucker, Claude Monet: Life and Art (Yale University Press, 1995), pp. 184; 186, pl. 212.

Andrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 61; 64; 95, pl. 24; 109.

Boston, Museum of Fine Arts, Monet in the ’90s: The Series Paintings, February 7–April 29, 1990, cat. 91 (ill.); Art Institute of Chicago, May 19–August 12, 1990; London, Royal Academy of Arts, September 7–December 9, 1990.

Paul Hayes Tucker, Monet in the ‘90s: The Series Paintings, exh. cat. (Museum of Fine Arts, Boston/Yale University Press, 1989), pp. 260; 263, pl. 98; 265; 300, cat. 91.

Charles F. Stuckey, Monet: Water Lilies (Hugh Lauter Levin/Macmillan, 1988), p. 33, pl. 6.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society Books/Little, Brown, 1988), p. 72 (ill.).

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society Books/Little, Brown, 1988), p. 72 (ill.).

Richard R. Brettell, Post-Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111, 114 (ill.), 118.

Madrid, Museo Español de Arte Contemporáneo, Claude Monet, 1840–1926, Apr. 29–June 30, 1986, cat. 94 (ill.).

Basel, Kunstmuseum Basel, Claude Monet: Nymphéas, July 20–Oct. 19, 1986, cat. 10 (ill.).

Kunstmuseum Basel, Claude Monet, Nymphéas: Impression, Vision, exh. cat. (SV International, 1986), pp. 29; 33, cat. 10 (ill.); 172.

Scott Schaefer, “Rivières, routes et chemins de fer,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), p. 156.

Richard R. Brettell, “La campagne française,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), p. 261.

John House, “Monet and the Genesis of His Series,” in Auckland City Art Gallery, Claude Monet: Painter of Light, exh. cat. (Auckland City Art Gallery/NZI, 1985), p. 25.

Charles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), p. 237, pl. 93.

Sylvie Gache-Patin, “Jardins privés et jardins publics,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 217; 220; 252–253, no. 93 (ill.).