À propos de l’œuvre
La maison parmi les roses, par Claude Monet
Claude Monet · 1925 · the house of Giverny seen from the garden
The House among the roseshand painted reproduction
Between two masses of rose bushes, the purple roof and a few windows are enough to make the house appear: in this late work, the garden no longer surrounds the architecture, it absorbs it almost entirely.
Look at the work
The house becomes an apparition behind the flowers
The path starts at the lower edge and goes up to a dark opening on the ground floor. Two large rose bushes frame this perspective: the one on the left is cut by the edge, the one on the right descends in a cascade and hides a large part of the facade.
The architectural forms deliberately remain not very detailed. The slate roof turns purple, the windows open like dark rectangles and the walls mingle with the foliage. In the foreground, the blue and green touches suggest irises or lilies whose flowering is ending.
In Giverny, Monet no longer paints a house at the bottom of a garden: he paints the garden as the colorful environment through which the house can still be seen.
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 framed perspective
The path and the central opening lead towards the house, but the two rose bushes constantly close this depth with their thick touches.
A purple roof under a blue sky
The long dark strip of the roof briefly separates vegetation and sky. Its purples take on the colors of the garden and avoid an overly architectural break.
A late subject
The touches are thick, crossed and sometimes independent of the contour. At a distance they form flowers and foliage; up close they remain events of color.
Details and visual documents
Observe the material and the exact version
The additional images show the difficult-to-read passages in the full view and, where it exists, the actual appearance of the work at the museum.
The reusable full view measures 2000 × 2582 px; both details come directly from this file, without oversampling. All three images are true WebPs and correspond to the CTB.1998.52 version.
Documented benchmarks
Three pieces of information specific to this work
These facts concern this precise version and are verified from the notice of the institution which keeps it.
The facade of the Giverny house
The canvas represents Monet's home seen from the garden he had designed, planted and maintained as a permanent source of motifs.
A work from the last full year
Painted in 1925, it belongs to the very end of the career of Monet, who died in December 1926.
Carmen Thyssen Collection
The work, signed lower right, is kept at the Museo Nacional Thyssen-Bornemisza under number CTB.1998.52 and bears the number Wildenstein 1957.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The house presents without becoming too clean
- Differentiated reds and whites in rose bushes
- The upward movement of the aisle
- The density of the late touch without blurring the entire composition
Work sheet
| Title | The House among the roses |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1925 |
| Original technique | Oil on canvas |
| Dimensions | 92.3 × 73.3 cm |
| Orientation | Vertical |
| Conservation | Museo Nacional Thyssen-Bornemisza, Madrid · Carmen Thyssen Collection |
| Inventory | CTB.1998.52 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
The vertical format and the strong colored material give the canvas a generous presence. It matches cream, blue gray, sage green or light brick walls, with natural materials and soft light.
