Monet at Musée Marmottan Monet
The Musee Marmottan Monet holds the largest collection of works by Claude Monet in the world. Housed in a former hunting lodge near the Bois de Boulogne in Paris, it is the one museum where the artist’s late career can be seen at full strength, with the Giverny garden paintings that he kept for himself rather than sold.
The family bequest that changed the museum
The Marmottan became a Monet museum through inheritance. In 1966 the artist’s second son, Michel Monet, left his father’s remaining studio holdings to the Academie des Beaux-Arts for the museum, an extraordinary group of paintings that had never entered the market. Around it sits the museum’s earlier Impressionist collection, including Impression, Soleil levant of 1872, the canvas whose title gave Impressionism its name; it was famously stolen in 1985 and recovered five years later.
What makes a visit unusual is the balance. Instead of a handful of masterpieces, you get the long, obsessive late work: the Japanese footbridge smothered in wisteria, the weeping willow, the water lily pond painted again and again as Monet’s eyesight faltered and his colour grew fiercer. There are also works from Monet’s own collection and a fine group of Berthe Morisot paintings. Every canvas in the grid below can be reproduced by hand as an oil painting on canvas, at the scale you need.
66 Monet works from Musée Marmottan Monet

Agapanthes
1900s









Japanese Bridge
1919






Nympheas
1916-1919

Nympheas
1918

Nympheas
1916-1919

Nympheas
1918







Portrait de Poly
1886









The Blue Houses
1895









The roses
1926

The row boat
1887



The Water-Lily Pond
1910s

The Water-Lily Pond
1910s






Water Lilies
1903

Water Lilies
1910s

Water Lilies
1915

weeping willow
1921

Weeping Willow
1918

Weeping Willow
1918-1919

Weeping Willow
1918

weeping willow
1921


White Clematis
1887

Wisteria
1919

Yellow irises
1924
These paintings lean late, loose and richly coloured, which is exactly what makes them so good on a modern wall. Deep greens, violets and molten reds carry weight in a room with plain plaster or pale timber, and the near-abstract garden canvases hold their own at large sizes where a tighter picture would look fussy. Rooms with side light suit them best; direct glare flattens the surface. Hung singly they read as a statement piece, and hung in pairs they set up a quiet conversation about the same pond at two different hours. Browse on, or see the full range of sizes and finishes.
Official collection: Musée Marmottan Monet