Instruct: Given a question, retrieve relevant passages that can help answer the question.
Query: When did Monet paint his waterlilies series?
Water Lilies (or Nymphéas, French:[nɛ̃.fe.a]) 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.[1][2]
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.
Monet's "Haystacks" series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather. For Monet, the concept of producing and exhibiting a series of paintings related by subject and vantage point began in 1889, with at least ten paintings done at the "Valley of the Creuse", and subsequently shown at the Galerie Georges Petit. This interest in the serial motif would continue for the rest of his career.
When Monet painted the "Rouen Cathedral" series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself. His "Series Paintings", in which he painted many views of the same subject under different lighting conditions, are an attempt to illustrate the importance of light in our perception of a subject at a given time and place.
The cathedral series was not Monet's first series of paintings of a single subject, but it was his most exhaustive. The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes. The cathedral allowed him to highlight the paradox between a seemingly permanent, solid structure and the ever-changing light which constantly plays with our perception of it. There were calls for the state to buy the entire series and exhibit them as a whole, but these calls were not heeded and the series was divided.
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).
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.
The series demonstrates his intense study of light and atmospheric conditions and Monet was a perfectionist in his renderings. Monet destroyed more than one series of paintings that he found wanting. However, this series escaped his own harsh self-criticism and destruction.
Six of these paintings were created in order to capture the different light effects created throughout the day. Monet often made multiple copies of the same work of art; this process is better known as series painting. His series paintings originated in his early career when he and other impressionists became interested in "en plein air" and were inspired by the effects of changing light.
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.
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.
The "Rouen Cathedral" paintings, more than thirty in all, were made in 1892 and 1893 in Rouen, Normandy, then reworked in Monet’s studio in 1894. Monet rented spaces in Rouen across the street from the cathedral as his temporary studio. In 1895 he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer’s gallery and sold eight of them before the exhibition was over. Camille Pissarro and Paul Cézanne visited the exhibition and praised the series highly.
Monet produced numerous "Haystacks" paintings. He painted five paintings (Wildenstein Index Numbers 1213-1217) with stacks as his primary subject during the 1888 harvest. His earlier landscapes (Wildenstein Index Number 900-995, 1073) had included stacks [and also some more-accurately described hayricks: that is smaller piles of hay for animal-feed] in an ancillary manner. The general consensus is that only the canvases produced using the 1890 harvest (Wildenstein Index Number 1266-1290) comprise the "Haystacks" series proper. However some commentators include additional paintings when referencing this series. For example, the Hill-Stead Museum talk of their two stack paintings even though one is from the 'proper' 1890 harvest, the other from the 1888 harvest. 
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.
Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny, simply means The Stacks at Giverny). The title refers primarily to a twenty-five canvas series (Wildenstein Index Numbers 1266-1290) which Monet began near the end of the summer of 1890 and continued through the following spring though Monet also produced earlier paintings using this same stack subject.
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.
In a famous article in 1995, Watanabe, Sakamoto and Wakita described an experiment which showed that pigeons can be trained to discriminate between paintings by Picasso and by Monet. The birds were first trained on a limited set of paintings: when the shown painting was a Picasso, the pigeon was able to obtain food by repeated pecking; when it was a Monet, pecking had no effect. After a while, the pigeons would only peck when shown Picasso paintings. They were then able to generalize, and correctly discriminate between paintings of the two painters not previously shown, and even between cubist and impressionist paintings (cubism and impressionism being the two stylistic schools Picasso and Monet belong to). When the Monet paintings were shown upside down, the pigeons were not able to properly categorize anymore; showing the cubist works upside down did not have such an effect.
What made Monet different from the other Impressionist painters was his innovative idea of creating Series paintings devoted to paintings of a single theme or subject. With the repetitious study of the subject at different times of day Monet's paintings show the effects of sunlight, time and weather through color and contrast. Monet's "Series paintings" are well known and notable, and include "Haystacks", "Water Lilies", "Rouen Cathedrals", "Houses of Parliament", "Charing Cross Bridge", and "Poplar Trees".
In 2018, the National Gallery in London exhibited nine of the Venice paintings, including three paintings of the series, together in a single room, for the duration of a temporary exhibition titled "Monet & Architecture", devoted to Claude Monet's use of architecture as a means to structure and enliven his art. This was a rare occurrence because no museum owns or exhibits more than two in a permanent collection.
Other series include "Poplars", "Mornings on the Seine", and the "Water Lilies" that were painted on his property at Giverny. Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Venice. In London he painted four series: "the Houses of Parliament, London", "Charing Cross Bridge", "Waterloo Bridge", and "Views of Westminster Bridge". Helen Gardner writes:
"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.
The stacks belonged to Monet's farmer-neighbour, Monsieur Quéruel. Noticing the way the light changed on M. Quéruel's stacks, Monet asked his stepdaughter, Blanche Hoschedé, to bring him two canvases, one for sunny and one for overcast conditions. But Monet soon found he could not catch the ever-changing light and mood on merely two canvases: as a result, his willing helper was quickly bringing as many canvases as her wheelbarrow could hold. Monet's daily routine therefore came to involve carting paints, easels and many unfinished canvases back and forth, working on whichever canvas most closely resembled the scene of the moment as the conditions and light fluctuated. Although he began painting the stacks "en plein air", Monet later revised his initial impressions in his studio, both to generate contrast and to preserve the harmony within the series.
Sargent spent much time painting outdoors in the English countryside when not in his studio. On a visit to Monet at Giverny in 1885, Sargent painted one of his most Impressionistic portraits, of Monet at work painting outdoors with his new bride nearby. Sargent is usually not thought of as an Impressionist painter, but he sometimes used impressionistic techniques to great effect. His "" is rendered in his own version of the impressionist style. In the 1880s, he attended the Impressionist exhibitions and he began to paint outdoors in the "plein-air" manner after that visit to Monet. Sargent purchased four Monet works for his personal collection during that time.
In 2018, the National Gallery in London exhibited nine of the Venice paintings, including two paintings of the series, together in a single room, for the duration of a temporary exhibition titled "Monet & Architecture", devoted to Claude Monet's use of architecture as a means to structure and enliven his art. This was a rare occurrence because no museum owns or exhibits more than two in a permanent collection.
Monet's long preference for producing and exhibiting a series of paintings related by subject and perspective began in 1889, with at least ten paintings done at the Valley of the Creuse, which were shown at the Galerie Georges Petit.[3] Among his other famous series are his Haystacks.