Monet created his water lily and wisteria paintings concurrently, as part of a planned installation titled “Grandes Décorations” that would feature a continuous watery and verdant landscape. However, while many of the water lilies were ultimately shown at the Orangerie in Paris, the wisteria paintings would not fit into the space and were left in his studio. It was not until several decades later that Monet’s late works found favor with modern art museums, and the water lily paintings (and, to a lesser extent, the wisteria paintings) were snapped up. The Gemeentemuseum discovery suggests there may be an even closer link between the two bodies of work.
As Gemeentemuseum curator Frouke van Dijke told the Times, “For us it was a big surprise [. . .] especially because all the focus is always on the water lilies, so no one really cares about the wisteria.”