Les Nymphéas (C.280) takes its title directly from Monet's own name for his water lily paintings, placing Lichtenstein's print in explicit dialogue with the body of work Monet pursued obsessively at Giverny across the final decades of his life. Unlike the single-technique screenprints that made up much of Lichtenstein's earlier output, this print combines four separate processes, linoleum cut, woodcut, lithography, and screenprint, layered together to build up the flat colour fields and diagonal stripe patterns that had become his signature method for standing in for reflected light and moving water.

The scale and technical complexity of the sheet, printed on heavy Arches Cover paper, reflects how far Lichtenstein's printmaking practice had developed by the early 1990s, moving well beyond the more straightforward screenprints of his Pop period into genuinely collaborative, multi-process works produced with master printers capable of registering four distinct techniques onto a single sheet. Coming from the same Water Lilies group that occupied Lichtenstein in his final years, the print continues his practice of taking canonical, widely reproduced paintings and rebuilding them entirely out of his own flattened visual language, treating Monet's dissolving brushwork as raw material for a completely different set of formal rules.

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