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The Cliffs in Étretat W1034 - Claude Monet

The Cliffs in Étretat W1034 - Claude Monet

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The Cliffs in Étretat W1034 - Claude Monet

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The Cliffs in Étretat W1034 - Claude Monet
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The Cliffs in Étretat W1034 - Claude Monet

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Claude Monet · Étretat · 1885 · W1034

The Cliffs at Étretat W1034hand painted reproduction

From the beach, Monet frames the Aval gate on the right and the isolated Aiguille in the center left. The sea occupies a low strip, covered with blue, green and pink reflections; a few tiny sails give the scale of the limestone masses under a sky with clear clouds. Painted in 1885, this oil on canvas measuring 65.1 × 81.3 cm is kept at the Clark Art Institute under the number 1955.528. This oil on canvas measuring 65.1 × 81.3 cm is kept at the Clark Art Institute under the number 1955.528. This oil on canvas measuring 65.1 × 81.3 cm is kept at the Clark Art Institute under the number 1955.528. Signed "Claude Monet 85" at the bottom right, it corresponds to Wildenstein 1034.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
The Cliffs in Étretat W1034 - Claude Monet - full view
The Cliffs at Étretat W1034Claude Monet · 1885
1885Dating
65.1 × 81.3 cmDimensions of the original
Oil on canvasOriginal technique
1955.528 · Wildenstein 1034Inventory
A real paintingThe canvas is painted, never printed.
Created for youEach copy is made to order.
Controlled in photoYou see the finished painting before it leaves.
Touch-ups includedAdjustments are made before shipping.

Look at the work

The ark and the Needle become two distinct masses, separated by an opening of sky and sea

The Aval wall is cut by the right edge and extends its base to the large arch. This framing brings the cliff very close, while the Needle, entirely visible, seems to float offshore. The space between the two rocks allows the horizon to pass and prevents the composition from closing.

The horizontal strata of the chalk are rendered by blue grays, greens and lilacs. On the summits, touches of ocher and pink catch the light; in the water, the same colors fragment into shorter reflections. The small red sails near the horizon connect the human scale to the natural monument.

The monumentality comes less from the geological detail than from the contrast between the nearby cliff, the isolated Needle and the almost imperceptible sails.

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.

01

A low point of view since the strike

The water line is close to the lower third and the cliff dominates the sky. This position makes the wall steeper while revealing the beach and a rock in the foreground.

02

Chalk is never just white

Slate blue, gray green, mauve, brown and pink describe the shadows, strata and illuminated parts. Color constructs mineral matter without continuous black contours.

03

Sails as units of measurement

Their orange-red contrasts with the blues and remains visible despite their tiny size. They enliven the horizon and make you feel the distance between the beach, the Aiguille and the open sea.

Reference image

Read this specific version

The single image is taken from the Clark Art Institute's color master file, photographed in 6,589 × 4,904 px. The calibration marks are removed, then the view of the canvas is limited to 3,000 × 2,402 px and encoded as a real WebP.

Composition01

Maintain opening between arch and Needle

This interval of sky and water is an active form. If it becomes too narrow, the rocks merge; too wide, the Needle loses its precise relationship with the Downstream Gate.

Color02

Preserve roses from the sky and reflections

These warm passages are not decorative: they unify the tops of the cliffs, the clouds and the surface of the sea. They must remain subtle in the face of blues.

Matter03

Preserve the horizontal grain of the cliff

The layers are suggested by short touches, sometimes interrupted. A model that is too smooth would remove W1034's feeling of laminated chalk and changing light.

Documented benchmarks

Three pieces of information specific to this work

The Clark Art Institute documents The Cliffs at Étretat, oil on canvas from 1885, 65.1 × 81.3 cm, inventory 1955.528 and catalog Wildenstein 1034.

Registration01

Claude Monet 85, bottom right

The dated signature is in the light area of the beach. It allows the canvas to be linked to the Étretat campaign of 1885.

Acquisition02

Purchased by Sterling Clark in 1933

After belonging in particular to James F. Sutton, the painting was acquired during the sale of his collection through Durand-Ruel. She entered the Clark Art Institute in 1955.

Pattern03

The Downstream Gate and the Needle

Monet returns to these formations several times from different positions and under different conditions. W1034 can be recognized by the very wide Needle, the dark arch and the light rock in the foreground.

Your reproduction

What the painter must preserve

Fidelity here depends on precise relationships between light, touch, depth and color temperature.

  • The Wildenstein 1034 version
  • The isolated Needle to the left of the Porte d'Aval
  • Little red sails on the horizon
  • The signature dated lower right

Work sheet

Title The Cliffs at Étretat W1034
Artist Claude Monet (1840 -1926)
Date 1885
Original technique Oil on canvas
Dimensions 65.1 × 81.3 cm
Orientation Horizontal
Conservation Clark Art Institute, Williamstown, United States
Inventory 1955.528 · Wildenstein 1034
Your reproduction Handmade oil painting on canvas
View the official notice of the work - Clark Art Institute · 1955.528

Presentation in your interior

A palette designed with the room

This navy is suitable above a sofa, sideboard or in an office. A mist blue, pearl gray or sand wall and a fine black or light oak frame underline the architecture of the cliffs.

Les Falaises à Étretat W1034, painted for your interior

Reproduction of oil painting on canvas made individually, photo controlled and adjustable before shipping.

Hand painted · WebP reference · Photo validation
01 Le plus fidèle aux détails
Exemple chrétien : Crucifixion présentée en tirage Fine Art non encadré
Tirage non encadré

Tirage Fine Art

Impression d’art sur papier mat Hahnemühle German Etching 310 g, au grain fin. Un rendu précis, élégant et plus accessible, idéal pour les détails et les nuances.

Présentation
Sans cadre, cadre classique ou cadre Box
Fabrication indicative
1 à 4 jours ouvrés
02 Le plus décoratif
Exemple chrétien : Lavement des pieds présenté sur canvas avec cadre flottant doré
Cadre flottant doré

Canvas imprimé

Impression sur toile d’artiste 400 g. Sa texture donne davantage de relief et un aspect tableau, avec plusieurs présentations adaptées au décor.

Présentation
Roulé, tendu 38 mm ou cadre flottant
Fabrication indicative
2 à 5 jours ouvrés*
03 Le plus artisanal
Exemple chrétien : La Cène présentée comme peinture à l’huile dans un intérieur
Mise en scène · cadre non inclus

Peinture à l’huile

Reproduction peinte entièrement à la main sur commande. Chaque toile est une pièce unique : ce n’est ni une impression numérique ni un poster sur toile.

Présentation
Toile roulée, sans châssis ni cadre
Réalisation indicative
Environ 14 jours
Acheminement
FedEx Worldwide offert · environ 5 jours après expédition

Thèmes de l’œuvre

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Beach landscapes and coastlines Clark Art Institute Claude Monet

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The same Last Supper artwork presented as an unframed Fine Art paper print
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Unframed print

A pigment print on Hahnemühle German Etching 310 gsm paper. Its matte, finely textured surface brings out detail and subtle colour. This is a print, not a hand-painted canvas.

Material
Hahnemühle German Etching 310 gsm paper with a matte, softly textured finish.
What you receive
The paper print only, without a frame or mount.
Made to order
Printed to order, usually in 1 to 4 business days. Delivery time is additional.
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Carefully packed and shipped with tracking. Delivery time depends on the destination selected above.

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