The set of the Orangerie

According to Claude Monet’s own suggestion, the eight compositions were set out in the two consecutive oval rooms. These rooms have the advantage of natural light from the roof, and are oriented from west to east, following the course of the sun and one of the main routes through Paris along the Seine. The two ovals evoke the symbol of infinity, whereas the paintings represent the cycle of light throughout the day.
Monet greatly increased the dimensions of his initial project, started before 1914. The painter wanted visitors to be able to immerse themselves completely in the painting and to forget about the outside world. The end of the First World War in 1918 reinforced his desire to offer beauty to wounded souls.
The first room brings together four compositions showing the reflections of the sky and the vegetation in the water, from morning to evening, whereas the second room contains a group of paintings with contrasts created by the branches of weeping willow around the water’s edge.

 






The Water Lilies: Morning with Willows




Paris, musée de l'Orangerie © RMN-Grand Palais (musée de l'Orangerie) / Michel Urtado