Clusters of water lilies float across the surface, concentrated at the lower left and upper right corners of the canvas. The water is rendered in a spectrum of blues and purples, with shifting reflections that suggest the presence of trees and clouds above. Brushstrokes are visible and varied, from short, textured marks describing the lily pads and blossoms to broader, more fluid sweeps in the open water.

Pink and white lily flowers emerge among the green pads, their forms loosely defined and their colors vibrant against the cool background. The composition avoids any horizon or shoreline, focusing entirely on the pond's surface and creating a sense of immersion within the garden scene. The nearly square format enhances the sense of balance and abstraction, as the eye moves between the floating clusters and the open expanse of water. According to the Art Institute of Chicago, this canvas marks a midpoint in Monet’s evolving approach, as he moved away from traditional landscape divisions to concentrate on the water’s surface alone.

Technical examination by the museum has revealed that Monet made significant changes to the painting as he worked, reflecting his own description of these works as an 'obsession.' After its completion, the painting was sold in Paris in 1909, passing through the hands of several dealers and collectors before arriving in Chicago. It was exhibited in Paris at the Galeries Durand-Ruel in 1909, and later shown in cities including Saint Louis, Chicago, Cincinnati, Toledo, Bloomington, Sioux City, Pittsburgh, Wichita, and at the University of Chicago. The Art Institute of Chicago notes that Water Lilies is now displayed in Gallery 243 as part of the Mr.

and Mrs. Martin A. Ryerson Collection.