The Water Lilies. The Abstract Art of New York and the last Monet

In 1955, Alfred Barr brought one of Monet’s large panels of Water Lilies (W1992) into the collection of the Museum of Modern Art in New York, at a time when these great "decorations", still in the studio in Giverny, were beginning to attract the attention of collectors and museums.
Monet was presented at that time as "a bridge between the naturalism of early Impressionism and the highly developed school of Abstract Art" in New York, with his Water Lilies seen in the context of Pollock’s paintings, such as Autumn Rhythm (number 30), 1950. The reception of these later Monet works resonated with American Abstract Expression then coming into the museum collections. At the same time, the idea of "Abstract Impressionism" was forged. The exhibition at the Musée de l’Orangerie focuses on this precise moment - when the great decorations of the master of Giverny were rediscovered and the New York School of Abstract Art was recognised - with a selection of some of Monet’s later works and around twenty major paintings by American artists such as Rothko, Clyfford Still, Barnett Newmann, Morris Louis, Philipp Guston, Joan Mitchell, etc.

General curator
Cécile Debray, chief curator, director of the Musée de l'Orangerie

Monet_Nymphéas_Bleus_Musee_Orsay

Claude Monet (1840-1926), Nymphéas bleus, vers 1916-1919
Paris, musée d'Orsay © RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski