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 · 1892 · Marmottan 5174 · W1327
The western facade of Rouen receives the heat of the end of the day. The blue sky cuts out the upper parts, while the portals sink into colder mauves and blues. Pink, beige, yellow and purple replace the supposed color of the stone and make the architecture vibrate.
Look at the work
The framing cuts the towers and brings the portal closer until it fills the vertical rectangle. The large central arch organizes the middle of the canvas; further down, the arcades plunge into shadow. The few pieces of blue sky accentuate the irregular silhouette of the monument.
Illuminated areas are never uniformly yellow. They mix cream, pink, ocher and small touches of blue. In the lower part, the purples remain crossed by red and pearl gray. The cathedral thus appears massive from a distance and extremely mobile when approached.
W1327 transforms the stone into colored light: the monument remains identifiable, but no surface escapes the change of time.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Monet works facing the portal from rented rooms on the Cathedral Square. This proximity explains the cut framing and the absence of urban retreat. The facade becomes a vertical field where each relief receives a different temperature.
The Marmottan Museum emphasizes that this painting does not yet have the heavier impasto of other cathedrals. Reproduction must therefore retain rubbed and breathable passages, particularly in the sky and pale areas.
Warm light is concentrated in the upper part and around the large reliefs. The portals are taken up by mauves and blues. This gradual transition gives depth to the painting without resorting to a black drawing.
Reference image
Only one reference image is displayed. The official Marmottan Museum file measures 1,500 × 2,320 px; it has been converted into a real WebP at its native size, without artificial enlargement.
The monument almost touches all four edges, but several sky cutouts lighten its mass. The high blue zone in the upper center brings out the pinnacles bathed in light.
The palette described by the museum contrasts solar tones with cold shadows. The colors partially overlap, which avoids an artificial separation between light and darkness.
The direction of the brush changes around the arches, columns and bays. The marks remain irregular: their accumulation suggests the sculptures without counting them one by one.
Documented benchmarks
The notice from the Marmottan Monet museum identifies this painting under number 5174, corresponding to the Wildenstein 1327 catalog.
Rouen Cathedral, sun effect, end of day is an oil on canvas from 1892 measuring 100 × 65 cm. The painting belongs to the cycle of the western portal.
The work entered the Marmottan museum through the bequest of Michel Monet, son of the artist, in 1966. It bears the inventory number 5174.
Monet stayed in Rouen in 1892 then in 1893 and worked simultaneously on several paintings according to light. The series was exhibited at Durand-Ruel in 1895 and became one of his most famous researches on perception.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Rouen Cathedral, sun effect, end of day W1327 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1892 |
| Original technique | Oil on canvas |
| Dimensions | 100 × 65 cm |
| Orientation | Vertical |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5174 · Wildenstein 1327 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Celestial blue, mineral pink, beige, golden yellow and mauve combine monumentality and light. This reproduction matches an entrance, library or living room with light stone, oak and a patinated gold frame.
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