Reflections, four fragments of Nymphéas Oil on canvas - Huile sur toile AED 2,938,500 -3,673,000 A. 20,5 x 27,5 cm - 8.1 x 10.8 in. Framed: 38 x 44,5 cm - 15 x 17.5 in. B. 20 x 20 cm - 7.9 x 7.9 in. Framed: 37 x 37 cm - 14.6 x 14.6 in. C. 23,7 x 23,5 cm - 9.3 x 9.2 in. Framed: 41 x 41 cm - 16.1 x 16.1 in. D. 18,5 x 25,5 cm - 7.3 x 10 in. Framed: 36 x 42,5 cm - 14.2 x 16.7 in. Provenance The artist's studio Michel et Blanche Hoschedé-Monet Jean-Marie Toulgouat Private collection, Europe Certificate Jean-Marie Toulgouat (last remaining family member of Claude Monet in Giverny) has confirmed the authenticity of this work Public notes 'It was during Claude Monet's nympheas period that Monet displayed his greatest anger. The family members Blanche and Michel saved a certain number of these cut canvases. Luckily and happily, because whatever this impetuous genius thought, they are small 'chefs-d'oeuvre'. Extracts of huge aborted frescoes, one or two coloured nympheas, colourful brushstrokes, sparks of colour floating between the sky and water... These canvases are superb witnesses of his eternal search and genius.' Michel de Decker, Claude Monet une Vie, pp. 245-246 Anyone who has viewed Monet's Nymphéas must concede that they are one of his most innovative and avant-garde masterpieces. These celebrated series are like studies that press home the impressionists technical research and experiments into experienced sensation. But each canvas taken separately, Monet constantly proves his brilliant inventiveness. Monet's works were revisited in the early 1950's and his example stimulated the American abstract expressionists and painters of the second École de Paris: in particular Jackson Pollock Mark Rothko Hoffman, Joan Mitchell Zao Wou-Ki Lee Krasner Sam Francis Jean-Paul-Riopelle, etc. to name only a few. 'I do what I can to convey what I experience before nature and most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they exist that is.' Claude Monet
Reflections, four fragments of Nymphéas Oil on canvas - Huile sur toile AED 2,938,500 -3,673,000 A. 20,5 x 27,5 cm - 8.1 x 10.8 in. Framed: 38 x 44,5 cm - 15 x 17.5 in. B. 20 x 20 cm - 7.9 x 7.9 in. Framed: 37 x 37 cm - 14.6 x 14.6 in. C. 23,7 x 23,5 cm - 9.3 x 9.2 in. Framed: 41 x 41 cm - 16.1 x 16.1 in. D. 18,5 x 25,5 cm - 7.3 x 10 in. Framed: 36 x 42,5 cm - 14.2 x 16.7 in. Provenance The artist's studio Michel et Blanche Hoschedé-Monet Jean-Marie Toulgouat Private collection, Europe Certificate Jean-Marie Toulgouat (last remaining family member of Claude Monet in Giverny) has confirmed the authenticity of this work Public notes 'It was during Claude Monet's nympheas period that Monet displayed his greatest anger. The family members Blanche and Michel saved a certain number of these cut canvases. Luckily and happily, because whatever this impetuous genius thought, they are small 'chefs-d'oeuvre'. Extracts of huge aborted frescoes, one or two coloured nympheas, colourful brushstrokes, sparks of colour floating between the sky and water... These canvases are superb witnesses of his eternal search and genius.' Michel de Decker, Claude Monet une Vie, pp. 245-246 Anyone who has viewed Monet's Nymphéas must concede that they are one of his most innovative and avant-garde masterpieces. These celebrated series are like studies that press home the impressionists technical research and experiments into experienced sensation. But each canvas taken separately, Monet constantly proves his brilliant inventiveness. Monet's works were revisited in the early 1950's and his example stimulated the American abstract expressionists and painters of the second École de Paris: in particular Jackson Pollock Mark Rothko Hoffman, Joan Mitchell Zao Wou-Ki Lee Krasner Sam Francis Jean-Paul-Riopelle, etc. to name only a few. 'I do what I can to convey what I experience before nature and most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they exist that is.' Claude Monet
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