A tree screen placed as close as possible
The trunks are cut by the edges of the canvas and their branches visually extend beyond the frame. This proximity gives the viewer a precise place under the pines.
Canvas reproduction
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Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · Juan-les-Pins · 1888 · W1187
Large pines stand in the foreground in front of the Gulf of Juan, whose clear water joins the bluish heights of Vallauris. Signed and dated Claude Monet 88 lower left, this oil on canvas of 73 × 92 cm belongs to a private collection and corresponds to Wildenstein 1187.

Look at the work
The trunks rise from the lower edge and divide into curved branches that occupy almost the entire right half. Their plant mass advances strongly, while the coast and hills recede into lighter blues.
The gulf mixes turquoise, pink, white and blue; the pines superimpose deep green, purple and red-brown. The very pale sky retains visible material, but remains light enough to highlight the contrast between the shade of the trees and the shine of the water.
The landscape is unframed from an open beach: Monet looks out over the Mediterranean through the pine trees, as if the cool shade in the foreground makes the bay even brighter.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The trunks are cut by the edges of the canvas and their branches visually extend beyond the frame. This proximity gives the viewer a precise place under the pines.
Dense greens and reds dominate in front; light blue grays and mauves appear in the distance. The difference in saturation is enough to separate the plans without architectural perspective.
Christie's places the motif near the Château de la Pinède, where Monet stayed from January to May 1888. The Gulf of Juan and the heights of Vallauris are identifiable beyond the trees.
Reference image
Only one exact image of W1187 is used. The real WebP measures 2000 × 1592 px and retains the native definition of the source, without artificial enlargement.
Each trunk has its curve and bifurcations. Straightening or regularizing them would eliminate the movement that drives the entire right part.
The trunks aren't just brown. These warm accents respond to the roses of the sea and reflect the light passing through the branches.
Blue, sea green and pink should remain visible in the bright area. Uniform white would cause the surface to lose flicker.
Documented benchmarks
Christie's documents Juan-les-Pins Beach, oil on canvas from 1888, 73 × 92 cm, signed and dated lower left and listed Wildenstein 1187.
Employee of Boussod, Valadon et Cie, he acquired ten landscapes of Antibes immediately after Monet's return. W1187 was sold on June 12 to Émile Boivin.
The Boussod, Valadon et Cie gallery immediately exhibited the group in 1888, then the work appeared in the major Monet-Rodin exhibition organized by Georges Petit in 1889.
Split pine, Gulf Juan and the hills of Vallauris distinguish it from neighboring views W1188 and W1189, painted from a very close location under other lights.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Juan-les-Pins Beach W1187 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1888 |
| Original technique | Oil on canvas |
| Dimensions | 73 × 92 cm |
| Orientation | Horizontal |
| Conservation | Private collection, Last public sale documented by Christie's |
| Inventory | Wildenstein 1187 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
This solar view is suitable for a living room, dining room or office. A pale blue, deep green or warm white wall and a natural setting extend its Mediterranean contrast.
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