When did Monet paint his waterlilies series?
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In 1877 a series of paintings at St-Lazare Station had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent. He was to further use this study in the painting of the effects of mist and rain on the landscape. The study of the effects of atmosphere was to evolve into a number of series of paintings in which Monet repeatedly painted the same subject (such as his water lilies series) in different lights, at different hours of the day, and through the changes of weather and season. This process began in the 1880s and continued until the end of his life in 1926.
Claude Monet
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Many notable painters have been influenced by this particular series including Les Fauves, Derain, and Vlaminck. Kandinsky's memoirs refer to the series: “What suddenly became clear to me was the unsuspected power of the palette, which I had not understood before and which surpassed my wildest dreams.” 
The "Haystacks" series was a financial success. Fifteen of these were exhibited by Durand-Ruel in May 1891, and every painting sold within days. The exhibit met with great public acclaim. Octave Mirbeau described Monet's daring series as representing "what lies beyond progress itself." Others described the stacks as "faces of the landscape" - they represented the countryside as a retreat from daily problems and home for contentment with nature. Camille Pissarro said: "These canvases breathe contentment." Most of the paintings sold immediately for as much as 1,000 francs. Additionally, Monet’s prices, in general, began to rise steeply. As a result, he was able to buy outright the house and grounds at Giverny and to start constructing a waterlily pond. After years of mere subsistence living, he was able to enjoy success.
Haystacks (Monet series)
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During the festival Rouen Impressionnée which took place in Rouen in the summer of 2010 he paid tribute to the impressionist Claude Monet by painting "Les Jardins/The Waterlilies" series for an exhibition in the Abbatiale de Saint-Ouen. The festival was organized as the contemporary component of the Normandie Impressionniste festival, a festival under the presidency of Laurent Fabius, former French Prime Minister, celebrating the impressionist past of the region. Next to the exhibition an installation ("Camille") was built on the Boieldieu bridge, a bridge that has been painted by the impressionist painter Camille Pissarro several times.
Arne Quinze
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"Matrix" was also published in 1971 by Fulcrum. The title sequence, ‘Matrix’, like a number of Fisher's poems, draws upon painting, in this case Böcklin's series of pictures called ‘The Isle of the Dead’ and Monet's late paintings of waterlilies. This volume also includes ‘Glenthorne Poems’, ‘The Six Deliberate Acts,’ and a number of collaborations with visual artists. Two of his works, ‘Correspondence’ and ‘Metamorphoses’, were illustrated by Tom Phillips and published in 1970 by Tetrad, a small London press run by artist Ian Tyson. ‘Also’ a collaboration with artist Derrick Greaves was published by Tetrad in 1972, and the same year the artist Ronald King published "Bluebeard’s Castle" with text by Fisher. Other collaborations with King followed over a period of twenty-five years, mostly appearing as Artist's Books and all issued by his Circle Press.
Roy Fisher
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In 1900, the year of this painting, he embarked on two major projects - a series of the River Thames in London and another series of his water gardens in Giverny, including some of his famous paintings of waterlilies, such as "The Waterlily Pond" (now in the Museum of Fine Arts Boston).
Le Jardin de l'artiste à Giverny
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One of Monet's larger paintings, it shows the beauty of the sunset reflecting off the water. In 1919, Claude Monet was an elderly man who had already had been painting for almost 70 years, and his "Water Lilies" series came during a time when he was mainly painting water lilies in his pond, the pond's bridge, and his garden.
Water Lilies (1919)
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Monet's series of 11 paintings depicting "The Bridge at Argenteuil" (1874) also explored the use of colored shadows in its portrayal of the blue and purple shadow on the top portion of the bridge. Over the years, Monet became more and more obsessed with color and light. When his wife was dying in September 1879, Monet painted her in "Camille Monet on Her Deathbed" (1879), noting the "blue, yellow, grey tones". Monet told his friend, French statesman Georges Clemenceau (1841–1929), that he spent the time "focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face." Camille died from cancer at the age of 32. After her death, Monet largely ceased painting people, focusing instead on natural landscapes. Monet later returned to painting snow and colored shadows with "Grainstacks Snow Effect" (1891).
The Magpie (Monet)
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While there Monet completed a series of artwork on the Canale Grande painting the same motif at different times of the day. Monet had the habit of studying the same subject in a varying light, at different times of the day, which resulted during his active career in many distinct Monet series, like for example the "Water Lilies" series, "Poplar" series, "Rouen Cathedral" series, "Haystacks" series and "Charing Cross Bridge" series. Monet painted 37 works of Venice during his three-month stay in Italy, from October to December, including this painting and five more depicting the same theme, Canale Grande. One is hosted at the Fine Arts Museums of San Francisco.
Le Grand Canal
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Water Lilies (or Nymphéas, ) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926). The paintings depict his flower garden at his home in Giverny, and were the main focus of his artistic production during the last thirty years of his life. Many of the works were painted while Monet suffered from cataracts.
Water Lilies (Monet series)
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The Poplars series paintings were made by Claude Monet in the summer and fall of 1891. The trees were in a marsh along the banks of the Epte River a few kilometers upstream from Monet's home and studio. To reach his floating painting studio that was moored in a place he went by small boat up the nearby waterway to where it joined the mainstream. The trees were along the riverside in single file, following along an S-curve.
There were three groups of paintings — in one group the paintings have towering Poplars that go off the top edge of the canvas, in another group, there are seven trees and in another group three or four Poplars on the banks of the Epte River near Giverny. The trees, which actually belonged to the commune of Limetz, were put up for auction before Monet had completed all of his paintings. At a certain point, Monet was forced into buying the trees because he still wasn't finished with his paintings. After he finished the series he sold the trees back to the lumber merchant who wanted them.
Poplars (Monet series)