Water Lily Pond, (Symphony in Green), 1899 by Claude Monet
Canvas Print - 2302-MCL
Location: National Gallery, London, UKOriginal Size: 88.3 x 93.1 cm
Giclée Canvas Print | $76.51 USD
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*Max printing size: 40.1 x 41.3 in
*Max framing size: Long side up to 28"
"Water Lily Pond, (Symphony in Green)" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Water Lily Pond, (Symphony in Green)" by Claude Monet, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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All unframed art prints are delivered rolled up in secure postal tubes, ensuring their protection during transportation. Framed art prints, on the other hand, are shipped in cardboard packaging with additional corner protectors for added safety.
Painting Information
Green reigns supreme here, saturating the canvas in a way that feels both immersive and introspective. Yet within this overarching hue lie subtle permutations - from sharp bursts of emerald and pine to gentler veils of moss and sage. Tiny flecks of blue, yellow, and pink hover at the edges, hinting at the water lilies that animate the surface. These measured color juxtapositions underscore an intention to make the viewer question where water ends and foliage begins.
The brushwork is vigorous. Rather than meticulously blending tones until they disappear into one another, the artist leaves generous, distinct strokes. Each stroke catches light differently, injecting a sense of motion that defies the serene subject matter. There is a palpable energy in these thick dabs of paint, reminiscent of the artist’s early Impressionist phase, rather than the smooth, diffused atmosphere he explored in some of his later endeavors. The result is a surface that bristles with vitality, pushing beyond any postcard prettiness.
Compositionally, the painting aligns its elements in tension - the sturdy arc of the bridge versus the loose sprawl of the pond. By placing us at a vantage where we look both across at the bridge and down onto the lily pads, the artist destabilizes our sense of perspective. We’re simultaneously beckoned into the distance and held at the water’s surface. The vertical streaks of reflected willows form a counterpoint to the broad horizontals of the floating plants, compelling our gaze to oscillate between those two planes. This structure makes the bridge not just a literal crossing but a visual anchor that prevents the scene from dissolving into shapeless color.
Historically, this work crystallizes an era when horticultural experimentation was flourishing, and the artist took full advantage, transforming his Giverny estate into a living palette. By the time he embarked on these images of the Japanese bridge, he had enlisted a team of gardeners and meticulously selected exotic lilies that would reward him with chromatic variety. The painting conveys a quiet intersection of nature and design - an immersion in the botanical wonders of the era coupled with a staunch refusal to treat the garden as mere décor. The artist’s careful arrangement of plants, colors, and reflections speaks to a desire for a layered visual experience, beckoning us into a realm shaped as much by his cultivation as by the caprices of light.
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