A major work from the Clark collection
The Clark catalog describes this painting as one of Monet's most radical achievements. Acquired in 1967 in memory of Anne Strang Baxter, it bears the inventory number 1967.1.
Canvas reproduction
The format automatically adapts to the original artwork.
Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · circa 1892 -1894 · Clark 1967.1 · W1358
Under full sun, the facade of the cathedral becomes a light blue, cream and gold material. The portals still retain purple shadows, but the upper reliefs seem to radiate. Monet transforms the stone into a luminous surface: seen up close, it fragments into touches; from a distance, the architecture reappears.

Look at the work
The framing is centered on the portal and the rose, without showing the entire building. The three dark openings anchor the lower part. Above, the verticals of the pinnacles and the curves of the rose can be seen by slight changes in value rather than by clear lines.
The blue of the sky seems to penetrate the stone, while ochres and pinks signal directly illuminated surfaces. The material is particularly thick on light areas. It imitates the real texture of the monument less than it materializes the glare.
W1358 makes the cathedral appear through light: form is born from color before becoming architecture again.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Clark catalog describes this painting as one of Monet's most radical achievements. Acquired in 1967 in memory of Anne Strang Baxter, it bears the inventory number 1967.1.
The protruding parts receive cream, yellow and pink touches; the hollows remain blue and purple. The eye thus recomposes the statues, arches and rose from chromatic differences.
Monet maintains almost identical dimensions from one Cathedral to another. Presented together, the paintings allow us to compare the metamorphoses of the same motif under the mist, in the morning, noon or evening.
Reference image
Only one reference image is used: the high definition view provided for the Clark version, converted to a true WebP of 2767 × 4000 px, without artificial enlargement.
The facade is so close that it extends on all four sides. The dark doors give a stable base, while the rose and pinnacles gradually dissolve upwards.
Light is never just white. Yellows and pinks heat up the reliefs; blues and purples preserve shadows and atmosphere.
Thick layers and small irregular marks must remain visible. They give the facade a vibration that would be made to disappear by a model that is too smooth.
Documented benchmarks
The Clark Art Institute catalog documents this painting under inventory 1967.1; it corresponds to Wildenstein number 1358.
This oil on canvas, dated around 1892 -1894, measures 106.7 × 73.7 cm. It is signed and dated "Claude Monet 94" at the bottom right.
The work is housed in Williamstown, Massachusetts. The Clark acquired it in 1967 in memory of Anne Strang Baxter.
During the 1895 presentation, Georges Clemenceau celebrated the Cathedrals as a pictorial revolution. The historic monument becomes the support for an experience of duration, color and perception.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Rouen Cathedral, facade in full sun W1358 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | Around 1892 -1894 |
| Original technique | Oil on canvas |
| Dimensions | 106.7 × 73.7 cm |
| Orientation | Vertical |
| Conservation | Clark Art Institute, Williamstown, United States |
| Inventory | 1967.1 · Wildenstein 1358 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Light blue, cream and pale gold give this reproduction a very elegant architectural luminosity. It fits into a living room, entrance or office with light stone, oak and a bronze or matte gold frame.
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