À propos de l’œuvre
Le débit, par Claude Monet
Claude Monet · 1924 -1925 · a vertical iris from the last Giverny
Irishand painted reproduction
Two small purple flowers appear at the end of very thin stems, surrounded by leaves which describe large green arches on a lilac background: the sobriety of the pattern makes each direction of touch decisive.
Look at the work
Two purple flowers punctuate a large vertical movement
Preserved at the Marmottan Monet Museum under number 5076, Iris adopts a narrow vertical format. Monet cuts the plants by the edges, as if the composition were a fragment taken from a much larger floral ensemble.
The main flower descends slightly below the center. A second, smaller purple note appears near the upper edge. Around them, the leaves not only describe the plant: their curves organize a slow movement, from the dark mass of the lower left to the light area of the right.
The rarity of flowers gives all its importance to the lilac void: it is in this open space that the long leaves can deploy their movement.
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.
An unusual vertical format
The height of the canvas amplifies the slenderness of the leaves. The plant does not rest in the center: it enters through the edges and crosses space.
Two flowers for the whole composition
The purple notes are small but very far apart. This distance forces the eye to travel the large green curves.
An active lilac background
The background mixes white, pink, blue and purple. It is not a flat surface: its touches respond to the foliage and give an atmospheric depth.
Details and visual documents
Observe the material and the exact version
The additional images show the difficult-to-read passages in the full view and, where it exists, the actual appearance of the work at the museum.
The official source reaches 1500 × 2242 px. Details of 1000 × 1100 px and 1050 × 1000 px are native cropping. All three files are true WebPs, with no oversampling.
Documented benchmarks
Three pieces of information specific to this work
These facts concern this precise version and are verified from the notice of the institution which keeps it.
A fragment of the Giverny garden
Painted between 1924 and 1925, Iris transforms a few flowers and long leaves into an autonomous composition, almost detached from any landscape landmarks.
A canvas of 105 × 73 cm
The vertical format distinguishes this work from the large horizontal floral panels of the same period. It corresponds to Wildenstein number 1841.
Inventory 5076 at the Marmottan Museum
The work entered the museum through the bequest of Michel Monet in 1966. The notice indicates on the back of the chassis the mark of the Claude Monet workshop.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The exact position of the two small purple flowers
- The long sheets that cross the vertical format
- The turquoise greens, browns and blues of the foreground
- The transparency of the lilac background without making it uniform
Work sheet
| Title | Iris |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1924 - 1925 |
| Original technique | Oil on canvas |
| Dimensions | 105 × 73 cm |
| Orientation | Vertical |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5076 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
The vertical format easily finds its place between two openings, on a narrow section of wall or in a composition of paintings. Its lilacs and greens combine with off-white, light wood and bluish gray.
