Washington's 1963.10.179 version
The National Gallery of Art documents an oil on canvas measuring 100.1 × 65.8 cm, signed and dated "Claude Monet 94" at the bottom right. The catalog raisonné identifies it as Wildenstein 1324.
Canvas reproduction
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Artwork description
Claude Monet · 1894 · NGA 1963.10.179 · W1324
The western facade of Rouen Cathedral receives a warm sun which transforms the stone into pink, cream and gold material. The architecture remains identifiable, but its sculptures dissolve in a thick touch. This version of the National Gallery of Art is inventory 1963.10.179, Wildenstein 1324.

Look at the work
Monet frames the portal very closely: the towers emerge from the field and the facade almost completely fills the canvas. The rose, the three portals and the vertical lines of the buttresses serve as landmarks, but no outline permanently closes the shapes.
The reliefs are constructed with touches of cream, pale yellow, pink and lilac. In the hollows, cold blues thicken the shadows. The light therefore does not cover a preliminary design: it itself produces the volume of the monument.
In W1324, the stone appears solid from a distance then unravels, as you approach, into a mosaic of luminous touches.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The National Gallery of Art documents an oil on canvas measuring 100.1 × 65.8 cm, signed and dated "Claude Monet 94" at the bottom right. The catalog raisonné identifies it as Wildenstein 1324.
Monet paints the cathedral from rented rooms in front of the facade. This close-up point of view explains the frontal framing and the impossibility of seeing the building as a whole.
After campaigns in Rouen and revivals in his workshop in Giverny, Monet presented twenty Cathedrals at Durand-Ruel in May 1895. Each painting isolates a particular state of light.
Reference image
Only one image is used: the exact scan of W1324 provided by the National Gallery of Art, converted into a real WebP of 1966 × 3000 px.
The facade must retain its monumental scale. The edges deliberately cut the architecture; widening the field would weaken the feeling of proximity desired by Monet.
The warm passages advance, while the blue-purple ones maintain the depth of the arcades. Their balance creates light without browning the stone.
The impastos follow niches, pinnacles and arches without drawing them mechanically. Reproduction must preserve this irregular vibration rather than smooth the surface.
Documented benchmarks
The notice from the National Gallery of Art sets precisely this version: 1894, 100.1 × 65.8 cm, inventory 1963.10.179 and catalog Wildenstein 1324.
The signature and date appear at the bottom right. The vertical format and the rose gold range distinguish this canvas from the other states of the portal painted by Monet.
The work is kept in Washington. Its institutional inventory number makes it possible to differentiate it from the Met, Orsay, Boston or private collections Cathedrals.
Monet is not looking for a definitive view of the cathedral. He compares the transformations of the facade according to the time, the fog, the shadow and the intensity of the sun.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Rouen Cathedral, west facade, in the sun W1324 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1894 |
| Original technique | Oil on canvas |
| Dimensions | 100.1 × 65.8 cm |
| Orientation | Vertical |
| Conservation | National Gallery of Art, Washington, United States |
| Inventory | 1963.10.179 · Wildenstein 1324 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Its tones of heated stone, powder pink and gray purple bring a soft architectural presence to an entrance, living room or library. Light oak, travertine and unbleached textiles naturally extend its palette.
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