À propos de l’œuvre
En canot sur l'Epte, par Claude Monet
Claude Monet · Epte river · around 1890 · W1250
By canoe on the Epte W1250hand painted reproduction
Suzanne and Blanche Hoschedé cross the Epte in a long boat whose hull is cut by the edges of the painting. This oil on canvas of 133.5 × 146 cm, painted around 1890, is kept at MASP under the number MASP.00092 and corresponds to Wildenstein 1250.
Look at the work
The canoe floats above water whose depth Monet shows
The boat occupies the upper part, while the train descends diagonally to the foreground. This tight framing almost eliminates the bank and places the viewer in direct contact with the river.
Under the two light figures, the submerged grasses form sinuous ribbons. Reflections, current and vegetation overlap in dark matter where greens, blues and purples remain visible.
W1250 not only describes what is reflected on the surface: it makes you look through the water, towards the plants that undulate at the bottom of the Epte.
Composition, touch and light
What Monet builds behind the impression of snapshot
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
A framing close to photography
The hull is cut by the edges and the figures are slightly off-center. The MASP brings this construction closer to the photographic framing and Japanese prints collected by Monet.
The oar as an axis of depth
The long orange diagonal connects the passengers in the foreground. Its angle and warm color organize a deliberately complex aquatic surface.
The exact version of MASP
The format of 133.5 × 146 cm, the inventory MASP.00092 and the reference Wildenstein 1250 distinguish this canvas from the other canoes of Monet on the Epte.
Reference image
Read this specific version
Only one reference image is used. The exact image of MASP.00092 is provided as a true WebP of 2200 × 2027 px, without artificial enlargement.
A deliberately truncated boat
The ends of the hull come out of the frame. This choice amplifies the feeling of proximity and should not be corrected in reproduction.
Colorful whites on dark water
The dresses mix pink, blue and gray; they shine in contrast with deep greens, without becoming flat white.
An almost tactile thickness
MASP emphasizes the thick paint layer and pure colors. The curved gestures of the water must remain distinct from the more continuous passages of the hull.
Documented benchmarks
Three pieces of information specific to this work
The MASP documents In a canoe on the Epte, oil on canvas circa 1890, 133.5 × 146 cm, inventory MASP.00092 and Wildenstein 1250.
Suzanne and Blanche Hoschedé
The two sisters posed for several canoeing scenes between 1887 and 1890. Their presence gave a human scale to Monet's research on the river.
A problem considered almost impossible
In June 1890, Monet wrote to Gustave Geffroy about water and vegetation undulating at the bottom, a difficulty directly visible in this composition.
Purchased by MASP in 1953
The Sao Paulo museum acquired the painting in 1953. Its framing and materiality make it a unique case in the group of canotages.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- Version MASP.00092, Wildenstein 1250
- The shell cut by the frame
- The long diagonal of the train
- Herbs visible beneath the surface of the Epte
Work sheet
| Title | By canoe on the Epte W1250 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | around 1890 |
| Original technique | Oil on canvas |
| Dimensions | 133.5 × 146 cm |
| Orientation | Almost square |
| Conservation | Museu de Arte de Sao Paulo, Sao Paulo, Brazil |
| Inventory | MASP.00092 · Wildenstein 1250 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
The almost square format and deep greens are suitable for a living room or library. A warm white wall, walnut and some powder pink or bottle green textiles extend the contrasts of the work.
