A view from the boat
The Met indicates that Monet painted this version from a boat specially equipped with grooves capable of holding several canvases. The low level explains the low place on the bank and the spectacular height of the trees.
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 · 1891 · Poplar Series · W1309
Four blue and purple trunks cross an almost square format, cross the dark strip of the bank then extend into the water. Painted in 1891 from a boat built on the Epte, this oil on canvas measuring 81.9 × 81.6 cm belongs to the Metropolitan Museum of Art under number 29.100.110.

Look at the work
The tops disappear above the frame and the edge cuts the canvas very low. Monet thus refuses the traditional panoramic view: the trunks become the main axes of the composition, spaced irregularly and taken up almost without interruption by their reflections.
The pale blue sky occupies wide intervals between the trees. The trunks mix ultramarine blue, purple, brown and a few orange touches; on the bank, deep greens meet yellows and pinks. In the water, the shapes dissolve into more floating bands.
W1309 is both a precise landscape of the Epte and an almost abstract construction made of four lines, a bank and their reflections.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Met indicates that Monet painted this version from a boat specially equipped with grooves capable of holding several canvases. The low level explains the low place on the bank and the spectacular height of the trees.
When the commune of Limetz decides to sell the poplars, Monet pays a timber merchant so that the trees remain standing until the end of his work. The motif is therefore linked to prolonged but materially fragile observation.
The Met audio notice highlights the solidity of the technique and the exceptional state of conservation of the canvas. The colored contrasts and material visible today remain close to their appearance when leaving the workshop.
Reference image
Only one image is used: the high definition reproduction of version 29.100.110, cropped on the canvas then converted into a real WebP of 3,000 × 2,989 px from a source of 3,689 × 3,658 px, without artificial enlargement.
Fidelity depends as much on the sky gaps as on the four trunks. Their width, spacing and bank position must remain precise to maintain the original rhythm.
The dominant blue contains purple, green and brown passages. The yellows of the bank and the orange touches of the barrels prevent the cold palette from becoming uniform.
Below the bank, the verticals fragment and mix with the surface of the water. The keys must remain freer than in the upper part in order to make the current felt.
Documented benchmarks
The Met documents The Four Trees, oil on canvas from 1891, 81.9 × 81.6 cm, inventory 29,100,110 and currently presented in gallery 819.
Monet worked along the Epte in Giverny for several months. He took over the poplars at different times and under changing lights, as he had just done with the Meules.
Fifteen paintings from the series were exhibited together in Paris in 1892. Their succession allowed the public to compare variations in sky, season and framing.
The painting joined the Metropolitan Museum of Art by the bequest of Mrs. HO Havemeyer in 1929 and received the inventory number 29.100.110.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Four Trees W1309 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1891 |
| Original technique | Oil on canvas |
| Dimensions | 81.9 × 81.6 cm |
| Orientation | Almost square |
| Conservation | Metropolitan Museum of Art, New York, United States |
| Inventory | 29.100.110 · Wildenstein 1309 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
The almost square format works above a console, in a bookcase or on a passage wall. Light grays, walnut and a few touches of deep blue extend the palette without competing with the verticality of the trees.
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