Water Lily Pond, (Symphony in Green), 1899 Claude Monet (1840-1926)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Claude Monet also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Water Lily Pond, (Symphony in Green) is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In this painting, one first observes a gently curving bridge spanning the pond, surrounded by dense foliage that nearly envelops the scene. The water’s surface, populated by clusters of lily pads tinged with pink, forms a secondary plane reflecting the willow trees and shrubs beyond. Monet positions us at a vantage that simultaneously looks across at the bridge and downward at the water, creating a mild disorientation that draws attention to his experimentation with depth. The air feels humid, the stillness broken only by the subtle play of light and color along the water’s surface.

Green dominates, but it is no monotone study. Subtle variations range from bright emerald to muted olive, interwoven with strokes of blue, yellow, and the soft blush of the blossoms. This orchestration of color heightens the sensory impression of an outdoor sanctuary. Even where the forms blur into one another, the eye clings to hints of pink or faint violet emerging from the vegetation, suggesting the ever-shifting qualities of flora at different times of day. Such chromatic choices energize the canvas, evoking both the abundant life of the garden and a contemplative hush along the water’s edge.

Monet’s brushwork is direct and textured, more in tune with his early Impressionist approach than the smoothed atmospheric effects of some subsequent series. Lush, vertical strokes accentuate the reflections of the trees, creating a rhythm that contrasts with the broad, horizontal sweep of lily pads. He handles paint in layered dabs and swirls, capturing a sense of fleeting illumination rather than a fixed, photographic moment. This robust application, where colors mingle yet maintain distinct qualities, lends the painting a tactile presence.

The composition hinges on the tension between the arch of the bridge and the expansive pond below. The bridge functions as a visual anchor, while the lush greenery frames and partially encloses the view, encouraging a slower inspection of the water’s surface. Historically, this work emerges after Monet had transformed his Giverny property into a horticultural haven, benefitting from modern innovations in botany that introduced new hybrids into his carefully conceived water garden. His devotion to cultivating the perfect setting for his art is evident in how effortlessly the natural and designed elements merge. The painting exudes the calm of a secluded retreat while subtly reminding us of the meticulous labor and artistic vision behind its creation.