A viewpoint from Vernonnet
Monet paints on the other side of the Seine. The distance and the interposed Corday Island allow him to blend the church into the landscape rather than making an architectural portrait of it.
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 · Vernon · 1883 · W842
From Vernonnet, Monet looks beyond the Seine towards the collegiate church of Vernon, whose tower and facade emerge between the poplars of Corday Island. Painted in 1883, this oil on canvas measuring 65 × 81.4 cm bears the reference Wildenstein 842 and belongs to a private collection.

Look at the work
The river occupies the foreground, crossed by long horizontal and vertical touches. In the center, slender trees partially hide the houses and the church; architecture is therefore never presented as a frontal or topographical view.
The cold greens of poplars mingle with the blues and mauves of water. Cream and pink tones signal the illuminated stone beyond the island. The whole is based on an alternation of vertical masses and luminous passages.
In W842, the monument is not isolated: it is discovered in fragments, behind the poplars and in the unstable reflection which connects Vernon to the opposite bank.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Monet paints on the other side of the Seine. The distance and the interposed Corday Island allow him to blend the church into the landscape rather than making an architectural portrait of it.
The fine trunks rise from the bank to the sky and respond to the tower. They organize the gaze while hiding certain parts of the building.
The water, the island, the trees and then the city overlap in thin strips. The values become lighter towards the back, which moves the church away without hard contours.
Reference image
Only one image of W842 is used. WebP maintains the available public resolution of 850 × 688 px, without artificial enlargement or adding a second image.
The facade should not be rebuilt or made too clean. Its fragmentary appearance behind the trees constitutes the identity of W842.
The touches of the foliage are nervous and oblique; those of the water lengthen. This difference in gesture allows you to read the bank without freezing the surface of the river.
Dark areas are not black. Bluish green, purple and cool brown give depth to the trees while maintaining a humid atmosphere.
Documented benchmarks
Christie's notice identifies The Church of Vernon as an oil on canvas from 1883, 65 × 81.4 cm, signed lower right and listed as Wildenstein 842.
Monet created three compositions of the church that year, well before the more systematic series of 1894. W842 is distinguished by the plant filter of Corday Island.
Durand-Ruel acquired the painting directly from Monet on October 10, 1890. Harris Whittemore bought it from the merchant on December 20 of the same year, then the work remained in his descendants.
The painting was placed on extended loan at the Wadsworth Atheneum Museum of Art from September 1997 to February 2020, before its presentation at Christie's in October 2020.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Church of Vernon W842 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1883 |
| Original technique | Oil on canvas |
| Dimensions | 65 × 81.4 cm |
| Orientation | Horizontal |
| Conservation | Private collection, Work documented during the Christie's sale on October 6, 2020 |
| Inventory | Wildenstein 842 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Deep greens, gray blues and cream stone are suitable for a quiet living room, library or office. A greige wall and dark wooden frame emphasize the depth without weighing down the image.
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