Water Lilies
Framed: 80 1/4 × 169 3/8 inches (203.84 × 430.21 cm)
- 130
Les grandes évasions poétiques de Claude Monet , Galerie Katia Granoff, Paris, June 1–30, 1956, no cat.
Claude Monet: Les Nymphéas, Série de paysages d’eau , Knoedler and Company, New York, October 8–27, 1956, no cat.
Some Points of View in Modern Painting , The Nelson-Atkins Museum of Art, Kansas City, MO, February 10–March 10, 1957, no. 1, as Nymphéas (Water Lilies).
Claude Monet: a loan exhibition , City Art Museum of St. Louis, September 25–October 22, 1957; The Minneapolis Institute of Arts, November 1–December 1, 1957, no. 94, as Water Lilies.
The Logic of Modern Art: An Exhibition Tracing the Evolution of Modern Painting from Cezanne to 1960 , The Nelson-Atkins Museum of Art, Kansas City, MO, January 19–February 26, 1961, no. 35, as Nymphéas.
The Road to Impressionism , Wichita Art Museum, KS, October 6–November 10, 1963, hors cat.
Monet’s Years at Giverny: Beyond Impressionism , The Metropolitan Museum of Art, New York, April 19–July 9, 1978; Saint Louis Art Museum, August 1–October 8, 1978, no. 78, as Water Lilies.
Monet’s Waterlilies Triptych , The Nelson-Atkins Museum of Art, Kansas City, MO, April 6–June 15, 1979; Cleveland Museum of Art, September 18, 1979–February 18, 1980; Saint Louis Art Museum, March 20–September 14, 1980, no cat.
Impressionism: Selections From Five American Museums , Carnegie Museum of Art, Pittsburgh, November 4–December 31, 1989; Minneapolis Institute of Arts, January 27–March 25, 1990; The Nelson-Atkins Museum of Art, Kansas City, MO, April 21–June 17, 1990; Saint Louis Art Museum, July 14–September 9, 1990; Toledo Museum of Art, OH, September 30–November 25, 1990, no. 56, as Water Lilies.
Monet’s Water Lilies , The Nelson-Atkins Museum of Art, Kansas City, MO, April 9–August 7, 2011; Saint Louis Art Museum, October 2, 2011–January 22, 2012, as Water Lilies and The Agapanthus Triptych.
World War I and the Rise of Modernism , The Nelson-Atkins Museum of Art, Kansas City, MO, December 17, 2014–October 18, 2015, no cat., as Water Lilies.
Painting the Modern Garden: Monet to Matisse , Cleveland Museum of Art, October 11, 2015–January 5, 2016; Royal Academy of Arts, London, January 30–April 20, 2016, no. 141, as Water Lilies (Agapanthus).
Monet’s Water Lilies: From Dawn to Dusk, The Nelson-Atkins Museum of Art, Kansas City, MO, February 12, 2021–January 23, 2022, no cat.
Monet/Mitchell: Painting the French Landscape, Fondation Louis Vuitton, Paris, October 5, 2022–February 27, 2023, no. 52, as L’Agapanthe.
Monet and His Modern Legacy, The Nelson-Atkins Museum of Art, Kansas City, MO, October 28, 2023–March 10, 2024, no cat.
Monet in Conversation with Americans in Paris, The Nelson-Atkins Museum of Art, Kansas City, MO, March 30, 2024–March 23, 2025, no cat.
Inherited by the artist’s son, Michel Monet (1878-1966), Giverny, France, December 5, 1926–1956;
Purchased from Michel Monet by Galerie Katia Granoff, Paris, June 1–July 20, 1956 [1];
Purchased from Galerie Katia Granoff by Knoedler and Company, New York, stock book 10, no. A6418, as Nymphéas, July 20, 1956–March 20, 1957 [2];
Purchased from Knoedler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1957.
Notes
[1] The painting was probably part of Granoff’s handwritten IOU, dated June 1, 1956, Archives of the Galerie Larock Granoff; first published in Marianne Mathieu, “The Grandes Décorations from Claude to Michel Monet (1914–1966),” in George T. M. Shackelford, ed., Monet: The Late Years, exh. cat. (Fort Worth: Kimbell Art Museum, 2019), 89, 206n83.
[2] See “Knoedler Book 10, Stock No. A6418, Page 181, Row 30,” July 20, 1956–March 20, 1957, The Getty Research Institute, Los Angeles, Dealer Stock Books, as Nymphéas. Knoedler and Company sent the painting to The Nelson-Atkins Museum of Art in November 1956 so it could be considered for purchase. See letter from Day and Meyer-Murray and Young Corp. to the Nelson-Atkins, November 19, 1956, NAMA curatorial files. Before the purchase was finalized on March 20, 1957, Knoedler also lent the painting to a small exhibition organized by Patrick J. Kelleher, NAMA curator: Some Points of View in Modern Painting (February 10–March 10, 1957). The Trustees’ decision to purchase Monet’s Water Lilies was assisted by both Kelleher’s input and a petition from 90 students and staff of the Kansas City Art Institute urging its purchase. See copy of petition, January 7, 1957, NAMA curatorial files.
François Thiébault-Sisson, “Claude Monet,” Le Temps, no. 21435 (April 6, 1920): 3.
François Thiébault-Sisson, “Art et curiosité: Un don de M. Claude Monet à l’État,” Le Temps, no. 21624 (October 14, 1920): 2, as Nymphéas.
Arsène Alexandre, “L’Epopée des Nymphéas,” Le Figaro, no. 294 (October 21, 1920): 1.
Édouard Mortier, Duc de Trévise, Chez Claude Monet: le pèlerinage de Giverny (1920; repr. Paris: L’Échoppe, 2016), 25–29, 35, as les nymphéas.
[Édouard Mortier, duc de] Trévise, “Le Pèlerinage de Giverny,” La Revue de l’art ancien et moderne 51, no. 282 (January 1927): 131.
[François] Thiébault-Sisson, “Claude Monet’s Water Lilies,” La Revue de l’art ancien et moderne 52, no. 287 (June 1927): 49 [repr. in Martha Kapos, ed., The Impressionists: A Retrospective (New York: Hugh Lauter Levin Associates, 1991), 302, 317].
Henry Vidal, “Remembering Claude Monet,” France-Marseille (February 19, 1947).
Georges Charensol, “Beaux-Arts,” Revue des Deux Mondes (1829–1971) (July 15, 1956): 343, 346–48.
Thomas Hess, “Monet: Tithonus at Giverny,” ARTNews 55, no. 6 (October 1956): 53.
Howard Devree, “Modern Pioneer: Monet Wrought a Magic In Color and Light,” New York Times 106, no. 36,058 (Bottom of Form
October 14, 1956): X11.
Emily Genauer, “Today’s Artists Give Old Monets New Life,” New York Herald Tribune Book Review 116, no. 48,345 (October 14, 1956): 13, as Nympheas.
Hilton Kramer, “Month in Review,” Arts Magazine 31, no. 2 (November 1956): 52–54, as Les Nymphéas and Série de paysages d’eau.
Henry Luce Robinson, “Rediscovered Modern,” Time 69, no. 4 (January 28, 1957): 77, 79.
Ross E. Taggart, “Kansas City Art,” Library Journal 82, no. 12 (June 15, 1957): 1596.
Frank Getlein, “Visitor Says We Have A ‘Great’ Art Collection,”Kansas City Star 77, no. 290 (July 7, 1957): 4A, as Water Lilies.
Patrick J. Kelleher, Some Points of View in Modern Painting, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1957), 8, as Nymphéas (Water Lilies).
William C. Seitz, Claude Monet: a loan exhibition, exh. cat. (St. Louis: City Art Museum, 1957), 38, 43, (repro.), as Water Lilies.
Jean Guichard-Meili, “Review: Claude Monet by Léon Degand and Denis Rouart,” Ésprit, Nouvelle série, no. 272 (April 1959): 702, as Nymphéas.
Sanka Knox, “Modern Museum Gets New Monet: 3-Part Water-Lily Canvas Replaces Picture of Same Subject Lost in Fire,” New York Times 109, no. 37,172 (November 2, 1959): 33.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts , 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 122, (repro.), as Nymphéas.
Henry S. Francis, “Claude Monet Water Lilies,” Bulletin of the Cleveland Museum of Art 47, no. 8 (October 1960): 196, 198.
Jan Dickerson, “Impressionist Art Purchases Shown at Gallery,” Kansas City Star 81, no. 50 (November 6, 1960): 1F.
Jean-Pierre Hoschedé, Claude Monet, ce mal connu: intimé familiale d'un demi-siècle à Giverny de 1883 à 1926 , (Geneva: Pierre Cailler Éditeur, 1960), 1:133–36, 138–39, 157, 163, as Décorations des Nymphéas.
The Logic of Modern Art: An Exhibition Tracing the Evolution of Modern Painting from Cezanne to 1960 , exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1961), 30, (repro.), as Nymphéas.
Ralph T. Coe, “A Curator Tells the ‘Why’ of Gallery Purchases,” Kansas City Star 85, no. 318 (August 1, 1965): [1]D.
Paulette Howard-Johnston, “Une visite à Giverny en 1924,” L’Œil, no. 171 (March 1969): 31.
Rosalind K. Ellingsworth, “Art and Ages Reborn for Students on Tours at Gallery,” Kansas City Times 101, no. 208 (May 8, 1969): 3B, as Nympheas.
Laura Rollins Hockaday, “Twenty-One Bow to Society at Jewel Ball,” Kansas City Times 102, no. 252 (June 27, 1970): 1.
François Daulte and Claude Richebé, Monet et ses amis: Le legs Michel Monet, la donation Donop de Monchy , exh. cat. (Paris: Musée Marmottan, 1971), 45.
Denis Rouart and Jean-Dominique Rey, Monet, nymphéas: ou les miroirs du temps (Paris: Fernand Hazan Éditeur, 1972), 134–35, 177, (repro.), as Nymphéas.
Donald Hoffmann, “A Beautiful Monet is Acquired by Nelson Gallery,” Kansas City Star Magazine, supplement, Kansas City Star 93, no. 126 (January 21, 1973): S12.
Robert Gordon, “The Lily Pond at Giverny: The Changing Inspiration of Monet,” Connoisseur 184, no. 741 (November 1973): 155, 162–64, as Décoration des Nymphéas.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri , vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 162, 258 (repro.), as Nymphéas.
Claire Joyes, Monet at Giverny (London: Mathews Miller Dunbar, 1975), 13–14, 39–40, 105, 113, 143, (repro.), as Les Décorations des Nymphéas.
Polly Cone, ed., Monet’s Years at Giverny: Beyond Impressionism, exh. cat. (New York: Metropolitan Museum of Art, 1978), 25, 32, 34, 39–40n19, 172–73, (repro.), as Water Lilies.
Reinhold Hohl, “NEW YORK: The Metropolitan Museum of Art, Ausstellung: Monet’s years at Giverny: Beyond Impressionism: 22. April bis 9. Juli 1978,” Pantheon 36, no. 3 (July–September 1978): 293.
Victoria Kirsch Meicher, “Monet: Colors, Genius,”Kansas City Star 98, no. 298 (August 13, 1978): 4E, as Water Lilies.
Charles S. Moffett, Monet’s Water Lilies (New York: Metropolitan Museum of Art, 1978), 1–2, 6–10, 12, unpaginated: n20, (repro.), as Water Lilies.
Robert H. Terte, “The Phenomenal Nelson Gallery,” Antiques World 1, no. 3 (January 1979): 46.
Robert Gordon and Charles F. Stuckey, “Blossoms and Blunders: Monet and the State,” Art in America 67, no. 1 (January–February 1979): 107, 112–13, 115, (repro.), as “agapanthus” triptych.
Beverly Rosenberg, “Monet’s Waterlilies Paintings,”Wednesday Magazine 42, no. 32 (March 28, 1979): 1, as Waterlilies Paintings.
Independent (March 24, 1979): unpaginated, (repro.), as Waterlilies Triptyche.
“Things to Do,” Kansas City Star 99, no. 162 (March 25, 1979): 43, as Waterlilies.
“Calendar, April, 1979: Exhibitions,” Gallery Events (The Nelson-Atkins Museum of Art) (April 1979): unpaginated, as Nymphéas (Water Lilies).
Donald Hoffmann, “Finding Monet’s ‘Lilies’,” Kansas City Star 99, no. 180 (April 15, 1979): [1]E, 7E, as Water Lilies.
“Calendar, May, 1979: Exhibitions,” Gallery Events (The Nelson-Atkins Museum of Art) (May 1979): unpaginated, as Nymphéas (Water Lilies).
“Calendar, June–August, 1979: Exhibitions,” Gallery Events (The Nelson-Atkins Museum of Art) (June–August 1979): unpaginated, as Nymphéas (Water Lilies).
Charles F. Stuckey, “Blossoms and Blunders: Monet and the State, Part II,” Art in America 67, no. 5 (September 1979): 125.
Donald Hoffmann, “Art: Small Watercolors Magical,”Kansas City Star 100, no. 65 (December 2, 1979): 7E, as Waterlilies.
Hanne Finsen, Monet i Giverny: (1883–1926), exh. cat. (Copenhagen: Ordrupgaardsamlingen, 1979), 18, 25, as Décorations des Nymphéas.
Georges Charensol, “Les Beaux-Arts,”La Nouvelle Revue des Deux Mondes (April 1980): 184, as Nymphéas.
“Annual Report for 1979,” Bulletin of the Cleveland Museum of Art 67, no. 6 (June 1980): 162, 173, 187, 189, (repro.), as Water Lilies.
Patricia Failing, “Picking up the pieces: The case of the dismembered masterpieces.” ARTnews 79, no. 7 (September 1980): 77, (repro.), as Water Lilies.
Katia Granoff, Ma vie et mes rencontres: avec Bouche, Chagall, Chabaud, Ozenfant, Monet, Guitton (Paris: Christian Bourgois Éditeur, 1981), 60, 175–76, 183, as les Nymphéas.
Jack Cowart, “Impressionist and Post-Impressionist Paintings,”Bulletin (Saint Louis Art Museum) 16, no. 2, Impressionist and Post-Impressionist Paintings (Winter 1982): 22–23, (repro.), as Water Lilies and Agapanthus.
Horst Keller, Ein Garten wird Malerei: Monets Jahre in Giverny (Cologne: DuMont Buchverlag, 1982), 131.
Robert Gordon and Andrew Forge, Monet (New York: Harry N. Abrams, 1983), 231, 235–38, 255, 257, 271, 293, (repro.), as Nymphéas (formerly Agapanthes; Water Lilies [formerly Agapanthus]).
“Patrick J. Kelleher 1918–1985,” Record of the Art Museum, Princeton University 44, no. 2 (1985): 37, as Waterlilies.
William B. Ober, “Monet’s Gardens at Giverny,” MD Magazine 29, no. 5 (May 1985): 58–59, as Nymphéas (Water Lilies).
Claire Joyes, Claude Monet: Life at Giverny (New York: Vendome, 1985), 8, 37, 103, 105, 108, 113, 121, 125, 147, (repro.), as Large Decorations and Water Landscapes.
Karin Sagner-Düchting, Claude Monet: ‘Nymphéas’; Eine Annäherung (Hildesheim, Germany: Georg Olms, 1985), 28, 54–56, 68, as Agapanthus.
Charles F. Stuckey, ed., Monet: A Retrospective (New York: Hugh Lauter Levin Associates, 1985), 16, 29, 277–79, 289–93, 295, 299–300, 302–05, 338–40, 349, (repro.), as nymphéas and Water Lilies.
Daniel Wildenstein, Claude Monet: Biographie et catalogue raisonné , vol. 4, 1899–1926: Peintures (Lausanne: La Bibliothèque des arts, 1985), no. 1977, pp. 97–98, 316–19, 322–23, 437, (repro.), asDécorations and L’Agapanthe (État actuel) (partie droite du triptyque).
Christian Geelhaar et al., Claude Monet, Nymphéas: impression, vision, exh. cat. (Zurich: Schweizer Verlagshaus AG, 1986), 64, as L’Agapanthe.
John House, Monet: Nature into Art (New Haven, CT: Yale University Press, 1986), 11, 59–60, 106, 147, 191, 216, 232, 245n54, as Water Lily Decorations.
“Museums to Sports, KC Has It All,” American Water Works Association Journal 79, no. 4 (April 1987): 133.
Charles F. Stuckey, Monet: Water Lilies (New York: Hugh Lauter Levin Associates, 1988), 22, 83, 131, as Agapanthus and Water Lilies.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills, 1989), 132–33, 135, (repro.), asWater Lilies, Nymphéas, and The Agapanthus (L’Agapanthe).
Toni Wood, “The impressionists broke all the rules: Modern viewers love impressionism,” Kansas City Star 110, no. 184 (April 15, 1990): H-4, as Water Lilies.
Scott Cantrell, “Keepers of the Light: Working from individual blueprints, impressionists laid colorful bricks in the foundation of modern art,”Kansas City Star 110, no. 191 (April 22, 1990): I4 .
Toni Wood, “Expatriate paintings in Midwest: Works took diverse routes to exhibit,” Kansas City Star 110, no. 233 (June 3, 1990): G1, G5, as Water Lilies.
Clive Gregory and Sue Lyon, eds., Impressionism: Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir , vol. 7, Great Artists of the Western World (London: Marshall Cavendish, 1990), 97.
Karin Sagner-Düchting, Claude Monet, 1840–1926: Ein Fest für die Augen (Cologne: Benedikt Taschen Verlag GmbH, 1990), 207, 209, 214, (repro.), asSeerosen, früher Schmucklilien and Nymphéas, jadis Agapanthus.
Christopher Lyon, “Unveiling Monet,” MoMA, no. 7 (Spring 1991): 15.
Rona Roob, “From the Archives: Fire and “Water Lilies”,” MoMA, no. 7 (Spring 1991): 24, as Nymphéas.
Paul Taylor, “Interview with Ellsworth Kelly,” Interview 21, no. 6 (June 1991): 102.
Daniel Wildenstein, Catalogue des peintures, vol. 5, Supplément au catalogue des peintures, Dessins, Pastels, Index (Lausanne: Wildenstein Institute, 1991), no. 1977, pp. 292, 332–33, 335.
Paul Taylor, “Ellsworth Kelly: interview,” Artstudio, no. 24 (Spring 1992): 150–51, 154–55.
Yve-Alain Bois, Jack Cowart, and Alfred Pacquement, Ellsworth Kelly: The Years in France, 1948–1954, exh. cat. (Washington, D.C.: National Gallery of Art, 1992), 192–93.
Virginia Spate, Claude Monet: Life and Work (New York: Rizzoli, 1992), 276, 280–81, 313, 332n65, 332n70, as Agapanthus.
Sandro Sproccati, Monet (Edison, NJ: Chartwell Books, 1992), 265, (repro.), as Water Lilies (formerly Agapanthus).
Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star (July 18, 1993): J1, as Waterlilies.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art 1933–1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 74, 80n4, as Water Lilies.
Arnaud D’Hauterives, Marianne Delafond, and François Daulte, Claude Monet et ses amis: œuvres choisies du Musée Marmottan et de collections privées , exh. cat. (Lausanne: La Bibliothèque des arts, 1993), 58.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279, as Water Lilies.
Christina Orr-Cahall and Paul Hayes Tucker, Claude Monet: An Impression, exh. cat. (West Palm Beach, FL: Norton Gallery of Art, 1993), unpaginated.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 131, 217, (repro.), as Water Lilies.
Gérald Van der Kemp, Monet: A Visit to Giverny (Versailles: Art Lys, 1994), 15, 17, 20, 73, 76, as Décorations des Nymphéas.
Elizabeth Vallance, “The Public Curriculum of Orderly Images,”Educational Researcher 24, no. 2 (March 1995): 5, as Waterlilies.
“Music Teachers National Association National Convention, March 23–27, 1996, Kansas City, Missouri,” American Music Teacher 45, no. 4 (February–March 1996): 23.
Richard Kendall, ed., Monet by himself: paintings, drawings, pastels, letters, trans. Bridget Strevens Romer (Edison, NJ: Chartwell Books, 1996), 240–41, 249, 257–58, as Grande Décoration.
Daniel Wildenstein, Monet or The Triumph of Impressionism (Cologne: Benedikt Taschen Verlag GmbH, 1996), no. 1977, pp. 360, 402–03, 405–06, 409–19, 421–23, 436–37, 479, (repro.), as Agapanthus, L’Agapanthe, and Grand Decorations.
Daniel Wildenstein, Monet:Catalogue Raisonné; Werkverzeichnis, vol. 4, Nos. 1596–1983 et Les Grandes Décorations (Cologne: Taschen, 1996), no. 1977, pp. 946–47, 964–65, 1049, 1052, (repro.), asL’Agapanthe (état actuel), Agapanthus (present state), and Schmucklilien (heutiger Zustand).
Paul Hayes Tucker, Monet in the 20th Century, exh. cat. (New Haven, CT: Yale University Press, 1998), 69, 95, 98, 100, 114–15, 218, 252, 291n13, as Agapanthus.
Louise d’Argencourt, European Paintings of the Nineteenth Century (Cleveland: Cleveland Museum of Art, 1999), 2:458–62, (repro.) as L’Agapanthe (Agapanthus).
Pierre Georgel, Monet: Le cycle des ‘Nymphéas’; Catalogue sommaire , exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1999), 43–47, 49–52, 68, 216, 225–26, (repro), as grandes décorations and L’Agapanthe.
Ann Dumas and Michael E. Shapiro, Impressionism: Paintings Collected by European Museums, exh. cat. (Atlanta: High Museum of Art, 1999), 177, 264, as Water Lilies.
Craig Horst, “Travel on Foot to See the Quirky and Classic Art of Kansas City,” Salt Lake Tribune 250, no. 65 (June 18, 2000): H1, as Water Lilies.
Craig Horst, “Kansas City museums offer the traditional and the quirky,” Ann Arbor News (June 25, 2000): H3, as Water Lilies.
Gérald van der Kemp and Daniel Wildenstein, The Gardens at Giverny: A View of Monet’s World by Stephen Shore (Millerton, NY: Aperture Books, 2000), 11, 16.
John Sanford, “Monet’s works at Giverny don’t fit definition of Impressionism, professor argues,” Stanford Report 33, no. 22 (March 21, 2001): 5, (repro.), as Grandes Décorations.
Debra N. Mancoff, Monet’s Garden in Art (London: Frances Lincoln, 2001), 124–25, (repro.), as Agapanthus.
Karin Sagner-Düchting, ed., Monet and Modernism, trans. John William Gabriel, exh. cat. (Munich: Prestel, 2001), 70.
Hiroo Yasui, Shin-ichi Numabe, and Katsunori Fukaya, eds., Monet; Later Works: Homage to Katia Granoff, exh. cat. (Nagoya, Japan: Chunichi Shimbun, 2001), 21, 30n24, 119, 129n24, as Agapanthus.
Ernst Beyeler, Claude Monet ... bis zum digitalen Impressionismus, exh. cat. (Munich: Prestel, 2002), 13, 25, 135–36, 158n12, 239, as Grandes Décorations.
Oliver Grau, Virtual Art: From Illusion to Immersion, trans. Gloria Custance (Cambridge, MA: MIT Press, 2003), 141–42, as Agapanthus.
William C. Seitz, Claude Monet (New York: Harry N. Abrams, 2003), 41, 126.
Simone Thalmann, “Claude Monet: Le bassin aux nymphéas (um 1917–1920),” Ansichten 2 (2004): 9, 15, as Grandes Décorations.
Bernd Küster, Anke Kuhbier, and Heinz Teufel, Claude Monet und sein Garten (Hamburg: Ellert und Richter, 2004), 63, 148, as großen Dekorationen and Grandes Décorations.
Clare A.P. Willsdon, In the Gardens of Impressionism (New York: Vendome, 2004), 228.
Mike Hendricks, “At Nelson, The Fat Lady Still Silent,” Kansas City Star (March 18, 2005): B1, as Water Lilies.
Tas Skorupa, ed., Chichu Art Museum: Tadao Ando Builds for Walter De Maria, James Turrell, and Claude Monet , trans. Noriko Umemiya, Yoko Iida, and Brian Hart (Ostfildern, Germany: Hatje Cantz, 2005), 137–39, 142–43, 146, 149, asGrandes Décorations, Nymphéas, and Water Lilies.
Vanessa Gavioli, ed., Art Classics: Monet (New York: Rizzoli, 2005), 54, 162, as Water Lilies.
“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 7, as Water Lilies.
Doris Kutschbach, Living Monet: The Artist’s Gardens (Munich: Prestel, 2006), 62, 66, 125, 138, as Grandes Décorations.
Heather Lemonedes, Lynn Federle Orr, and David Steel, Monet in Normandy, exh. cat. (New York: Rizzoli International, 2006), 178, 192n62.1, 192n62.3, as Water Lilies (Agapanthus).
Karin Sagner, Monet at Giverny (Munich: Prestel, 2006), 71, 76, 80, 88, 108–09, (repro.), as Agapanthuses and Waterlilies .
Norio Shimada, Great Masters of Western Art, Book 1: Claude Monet (Tokyo: Shōgakukan, 2006), 112–13, (repro.), as Agapanthus.
Ashok Roy, “Monet’s Palette in the Twentieth Century: Water-Lilies and Irises,” National Gallery Technical Bulletin 28 (2007): 58–59, 61, 67n1, 67n9, as Grandes Décorations.
Joseph Baillio, Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff (New York: Wildenstein, 2007), 42, 129–30, 133, 177–78, as Nymphéas and as The Agapanthus Decoration.
Joe Houston et al., In Monet’s Garden: Artists and the Lure of Giverny, exh. cat. (Columbus, OH: Columbus Museum of Art, 2007), 16–17, 97.
William H. Robinson, Monet to Dalí: Impressionist and Modern Masterworks from the Cleveland Museum of Art , exh. cat. (Cleveland: Cleveland Museum of Art, 2007), 34.
Claudio Zambianchi,I Grandi Maestri Dell’Arte: L’artista e il suo tempo, vol. 2, Monet e la pittura en plein air (Florence: E-Ducation.it, 2007), 80.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 35, 129, (repro.), as Water Lilies.
Jean Dominique Rey and Denis Rouart, Monet, Water Lilies: The Complete Series (Paris: Flammarion, 2008), 111, 145, 158, (repro.), as Water Lilies and Agapanthus.
Jenny Gheith, “Tableau Vert,”Art Institute of Chicago Museum Studies 35, no. 2, Notable Acquisitions at the Art Institute of Chicago (2009): 44.
Alice Thorson, “Monet’s ‘Water Lilies’ Examined: Art, science intersect at Nelson,” Kansas City Star 130, no. 277 (June 21, 2010): A1, A12, (repro.), as Water Lilies.
Alice Thorson, “The Nelson’s new director aims for relevance,”Kansas City Star (August 29, 2010): G2, as Water Lilies.
“New Light Shines on Monet’s Water Lilies,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2010): 13, (repro.), as Water Lilies.
Paloma Alarcó, Monet et l’abstraction/Monet and abstraction, trans. David Wharry, exh. cat. (Paris: Éditions Hazan, 2010), 68, 71, 73, as Grandes Décorations.
Michel Draguet, Les Nymphéas: Monet, Grandeur, Nature (Paris: Éditions Hazan, 2010), viii–ix, xn42, as Grandes Décorations and Agapanthes.
Alexandre Duval-Stalla, Claude Monet—Georges Clemenceau: une histoire, deux caractères; biographie croisée (Paris: Éditions Gallimard, 2010), 23–26, 29, 213–14, 219, 240, asNymphéas, gigantesques constructions, and Grandes Décorations.
Stephen F. Eisenman, ed.,From Corot to Monet: The Ecology of Impressionism, exh. cat. (Milan: Skira, 2010), 344, as L’Agapanthe.
Claire Joyes, Claude Monet à Giverny: La visite et la mémoire des lieux (Giverny, France: Éditions Claude Monet, 2010), 70–71, 78, as Grandes Décorations aux Nymphéas.
Vincent Noce, Monet, l’oeil et l’eau (Paris: Éditions de la Réunion des musées nationaux, 2010), 205, 210–13, as Décorations.
Paul Hayes Tucker, Claude Monet: Late Work, exh. cat. (New York: Gagosian Gallery, 2010), 149–53, as Nymphéas and Les agapanthes.
Pierre Wat, Les Nymphéas, la nuit: Ateliers imaginaires, Claude Monet (Paris: Nouvelles Éditions Scala, 2010), 89–91, as grandes décorations.
Daniel Wildenstein, Monet or the Triumph of Impressionism (Cologne: Benedikt Taschen Verlag GmbH, 2010), no. 1977, pp. 360, 402–03, 405–06, 409–19, 421–22, 436–37, 478, 480, (repro.), as Agapanthus, L’Agapanthe, and Grand Decorations.
Simon Kelly, Monet’s Water Lilies: The Agapanthus Triptych, exh. cat. (Saint Louis: Saint Louis Art Museum, 2011), 6–13, 18, 20, 22, 25–27, 29, 31, 33–35, 38, 40–42, 44–60, (repro.), as Agapanthus and Water Lilies.
“Claude Monet: The Deliberate Artist Who Created the Water Lilies ,” Member Magazine (The Nelson-Atkins Museum of Art) (Spring 2011): 1, 7–8, (repro.), as Water Lilies.
Cori Hampton Bostick, ed., “‘Monet’s Water Lilies’ at the Nelson-Atkins Museum of Art,” Blouinartinfo.com’s Gallery Guide: Chicago, Midwest (March 2011): 6–7.
Alice Thorson, “This ‘Lilies’ panel hides a secret,” Kansas City Star 131, no. 177 (March 13, 2011): G3.
Alice Thorson, “Of three ‘Lilies’ panels, this one blooms the brightest,”Kansas City Star 131, no. 184 (March 20, 2011): F2, as Water Lilies.
Alice Thorson, “‘Water Lilies’ panels went from degradation to fame,”Kansas City Star 131, no. 191 (March 27, 2011): F3, (repro.), as Water Lilies.
Javier Pes, “What’s On: Monet’s flowers put back together, The Agapanthus triptych co-operatively reassembled by Midwestern museums,”Art Newspaper 20, no. 223 (April 2011): 78, as Agapanthus triptych.
Maria Sudekum Fisher, “Nelson-Atkins Reunites Impressionist Master Claude Monet’s ‘Water Lilies’ Triptych,” ArtDaily.com (April 1, 2011): unpaginated, (repro.), as Water Lilies.
Alice Thorson, “A new way to experience art,” Kansas City Star 131, no. 196 (April 1, 2011): A1, A10, as Water Lilies.
Alice Thorson, “Nelson museum reunites Monet’s ‘Water Lilies’,” Kansas City Star (April 3, 2011): MG8, as Water Lilies.
Alice Thorson, “Three Times the Wonder: Claude Monet’s later work reflects his obsession with the color and reflections in his water garden,” Kansas City Star Magazine, supplement, Kansas City Star 131, no. 198 (April 3, 2011): S1, S8–S13, (repro.), as Water Lilies.
“Briefs: Disney, airport ticket kiosks and Monet in Kansas City,” Chicago Sun-Times (April 10, 2011): http://www.suntimes.com/lifestyles/travel/4694284-502/briefs-disney-airport-ticket-kiosks-and-monet-in-kansas-city.html .
Abby Eden, “Monet Exhibit Opens to the Public,” Fox 4 News (April 10, 2011): http://www.fox4kc.com/news/wdaf--monet-tryptic-displayed-nelsonatkins-20110410,0,854454.story .
“Colorful Pedicabs Offer Rides, Discounts to Monet’s Water Lilies at the Nelson-Atkins,” ArtDaily.org (April 18, 2011): http://www.artdaily.org/index.asp?int_sec=2&int_new=46624 .
“Featured Exhibition: Monet’s Water Lilies,” Explore Art (The Nelson-Atkins Museum of Art) (May–June 2011): 2, 7–9, 14, (repro.), as Water Lilies.
“Consul General of France Visits Monet Exhibition at Nelson-Atkins Museum,” ArtDaily.org, (June 12, 2011): http://www.artdaily.org/index.asp?int_sec=2&int_new=48204 .
“Last Chance for Public to See Water Lilies Together at the Nelson-Atkins Museum of Art,” ArtDaily.org (July 16, 2011): http://www.artdaily.org/index.asp?int_sec=2&int_new=49129 .
“Monet's Magnificent Waterlilies,” Little Rock Examiner: Contemporary Art Examiner (June 26, 2011), unpaginated, as “Water Lilies Agapanthus” triptych.
“Monet's Water Lilies at Nelson through August 7,”Kansas City Examiner: Events (July 19, 2011), unpaginated, as Water Lilies.
Alice Thorson, “‘Water Lilies’ Drives Attendance,”Kansas City Star 131, no. 331 (August 14, 2011): F3, (repro.), as Water Lilies.
Diane Toroian Keaggy, “Revisiting Monet-St. Louis Art Museum curator shares ‘wow’ experience of water lilies with new exhibit,”St. Louis Post-Dispatch (October 2, 2011): E1, as “Agapanthus” triptych.
“For the first time in 30 years, Saint Louis Art Museum reunites Monet’s Water Lilies,” ArtDaily.org (October 3, 2011), http://www.artdaily.org/index.asp?int_sec=2&int_new=50838
Bradley Fratello, “Art Museum’s ‘Water Lilies’ shines more brightly in context,” St. Louis Post-Dispatch (Special to the Post-Dispatch) (October 23, 2011): E7, as “Agapanthus” triptych.
Giuliana Giulietti, Proust e Monet: I più begli occhi del XX secolo (Rome: Donzelli editore, 2011), 135.
Daniel Marchesseau, ed., Monet au Musée Marmottan et dans les collections suisses; Estampes japonaises: Fondation Claude Monet, Giverny , exh. cat. (Martigny, France: Fondation Pierre Gianadda, 2011), 26–27, 207, as Nymphéas and Grandes Décorations.
Laurence Bertrand Dorléac, Contre-déclin: Monet et Spengler dans les jardins de l’histoire (Paris: Éditions Gallimard, 2012), 186–87, 195, as grandes décorations.
Véronique Serrano, ed., Bonnard Among Friends: Matisse, Monet, Vuillard…, exh. cat. (Milan: Silvana Editoriale, 2012), 17, 65, 72–73, 76, 84, 142, as Water Lilies and large machines.
Christophe Vitale, Clémenceau et les artistes modernes: Manet, Monet, Rodin, exh. cat. (Paris: Somogy éditions d’art, 2013), 102, 105–06, 111, 116, 172, (repro.), as Grandes Décorations de Nymphéas.
James A. Fussell, “Museum honors heroes who rescued art in war,”Kansas City Star 134, no. 127 (January 22, 2014): A6, as Water Lilies.
Yve-Alain Bois and Sarah Lees, Monet/Kelly, exh. cat. (Williamstown, MA: Sterling and Francine Clark Art Institute, 2014), 9, 51, 53–54, 58, 59n1, 59n2, as Nymphéas.
Elisabeth Kirsch, “Provocative exhibit at Nelson-Atkins museum shows evolution of modernism in World War I,” The Kansas City Star: Special to the Star online (January 24, 2015): unpaginated, as Water Lilies.
Milica Acamovic, “Art 101—Claude Monet’s ‘Water Lilies’,” KCStudio.org (March 9, 2015): http://kcstudio.org/art-101-claude-monets-water-lilies/ .
Diane Stafford, “Bloch gift to go for Nelson upgrade,”Kansas City Star 135, no. 203 (April 8, 2015): A8, as Water Lilies.
Christoph Heinrich, Claude Monet, 1840–1926: Capturing the Ever-Changing Face of Reality (Los Angeles: Taschen, 2015), 85, 87, 90.
William H. Robinson et al., Painting the Modern Garden: Monet to Matisse, exh. cat. (London: Royal Academy of Arts, 2015), 8, 45, 59, 169, 267–69, 291–93, 311, (repro.), as Water Lilies (Agapanthus) and Grandes Décorations.
Steven Litt, “Cleveland Museum of Art’s ‘Monet to Matisse’ digs for roots of modernism in artists’ gardens,” Cleveland.com (October 9, 2015): http://www.cleveland.com/arts/index.ssf/2015/10/cleveland_museum_of_arts_monet.html .
Vincent Noce, “Van Gogh’s Garden at Auvers, once labelled a fake, gets its day in the sun at Royal Academy: The big ticket show holds few surprises but plenty of public appeal,” The Art Newspaper (January 30, 2016): http://theartnewspaper.com/news/museums/van-gogh-s-garden-at-auvers-once-labelled-a-fake-gets-its-day-in-the-sun-at-royal-academy/ .
“Exhibition examines the role of gardens in the paintings of Monet and his contemporaries,” ArtDaily.org (January 31, 2016): http://artdaily.com/news/84751/Exhibition-examines-the-role-of-gardens-in-the-paintings-of-Monet-and-his-contemporaries#.Vq-L7UBOW-0 .
Ann Dumas, “Fondersi con la natura: il giardino dipinto, da Monet a Matisse, a Londra,” Art e dossier, no. 330 (March 2016): 39, as Trittico Agapanthus.
Nina Siegal, “Upon Closer Review, Credit Goes to Bosch,” New York Times 165, no. 57130 (February 2, 2016): C5.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” ArtDaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.V6D_CFKFO9J .
Philippe Dagen, Hodler, Monet, Munch: peindre l’impossible, exh. cat. (Vanves: Hazan, 2016), 15, as Water Lilies.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 90–91, (repro.), as Water Lilies.
Ross King, Mad Enchantment: Claude Monet and the Painting of the Water Lilies (New York: Bloomsbury, 2016), 229, 258, 303, 389n38, 393, as Agapanthus and Water Lilies.
Jean-Dominique Rey and Denis Rouart, Monet, les nymphéas: l’intégralité (Paris: Flammarion, 2016), 110, 145, (repro.), as Nymphéas, l’Agapanthe.
David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 4D, (repro.).
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology,” KCUR (March 10, 2017):
http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0 , as Water Lilies.
Félicie Faizand de Maupeou, “Du peintre à l’architecte: la mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries,”In Situ 32 (July 27, 2017): unpaginated, n15, n33, n41, as Nymphéas, l’Agapanthe, and Décoration.
Laurence Madeline, Musée de l’Orangerie: The Walter-Guillaume Collection and Monet’s Water Lilies (Lyon, France: Nouvelles Éditions Scala, 2017), 124.
Marianne Mathieu and Dominique Lobstein, Monet collectionneur (Vanves, France: Éditions Hazan, 2017), 253, as Nymphéas.
Cécile Debray, ed., Nymphéas: L’abstraction américaine et le dernier Monet, exh. cat. (Paris: Réunion des musées nationaux, 2018), 8, 17–18, 46, 48, 131–32, 138, 150–51, 186–88, 190, as Grandes décorations des Nymphéas.
Heinz Widauer and Dieter Buchhart, eds. Claude Monet: A Floating World, exh. cat. (Vienna: Albertina, 2018), 207–08n34.
Jennifer Silvey, “10 Art pieces or galleries to go see in Kansas City this spring,” Fox4KC.com (March 11, 2019): https://fox4kc.com/2019/03/10/10-art-pieces-or-galleries-to-go-see-in-kansas-city-this-spring/ , as Water Lilies.
Emily Cox, “Exploring the Nelson-Atkins after six months in small spaces,” The Pitch (October 22, 2020): https://www.thepitchkc.com/exploring-the-nelson-atkins-after-six-months-in-small-spaces/ , (repro.), as Water Lilies.
“Monet meets Mitchell at Fondation Louis Vuitton this fall,” LiveAuctioneers: Auction Central News (September 3, 2022): https://www.liveauctioneers.com/news/top-news/monet-meets-mitchell-at-fondation-louis-vuitton-this-fall/ .
“Exhibition creates a visual, artistic, and sensorial dialogue between Claude Monet and Joan Mitchell,” ArtDaily (October 5, 2022): https://artdaily.cc/news/150508/Exhibition-creates-a-visual--artistic--and-sensorial-dialogue-between-Claude-Monet-and-Joan-Mitchell#.Yz2oUHbMJhE .
Armand Limnander, “Claude Monet and Joan Mitchell Meet in Paris,” W Magazine (October 6, 2022): https://www.wmagazine.com/culture/monet-mitchell-fondation-louis-vuitton-paris, (repro.), as Agapanthus triptych.
Amy Verner, “In Paris, ‘Monet–Mitchell’ Puts Two Visionary Artists Into Dynamic Dialogue,” Vogue (October 10, 2022): https://www.vogue.com/article/monet-mitchell-fondation-louis-vuitton-exhibition, as Water Lilies (Agapanthus).
Simon Kelly, Monet/Mitchell: Painting the French Landscape, exh. cat. (St. Louis: Saint Louis Art Museum, 2023), 27, 31, 46, 52, 69, 75–76, (repro.), as Agapanthus (Water Lilies).
Christine Jackson, “‘Monet/Mitchell: Painting the French Landscape’ puts two groundbreaking artists in conversation,” St. Louis Magazine (March 22, 2023): https://www.stlmag.com/culture/visual-arts/monet-mitchell-at-the-saint-louis-art-museum/, as Agapanthus triptych.
“Kansas City arts and culture poises for a renaissance,” Kansas City Business Journal (June 15, 2023): unpaginated.
Simon Kelly, “Claude Monet, Water Lilies, ca. 1915–1926,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2025), https://doi.org/10.37764/78973.5.632.5407.
Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 72-73, (repro.).
