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170 cm 5 ft 7 in
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Twilight in Venice W1769 - Claude Monet
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Claude Monet · 1908 · Artizon Museum · W1769
Twilight in Venice W1769hand painted reproduction
San Giorgio Maggiore becomes a dark silhouette in front of an incandescent sky. The campanile rises in a turquoise zone, while the horizon burns orange and red. In the lagoon, the same colors spread in horizontal bands crossed by the vertical reflection of the tower.
Oil on canvasHand paintedPhoto before shipmentPossible alterations
Twilight in Venice W1769Claude Monet · 1908
1908Dating
73 × 92.5 cmDimensions of the original
Oil on canvasOriginal technique
Wildenstein 1769Inventory
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
A Venetian twilight where the sky sets the lagoon ablaze and reduces San Giorgio to a colorful silhouette
The island occupies the left of the composition and lets the sky and water open to the right. The campanile is the dominant vertical. Its off-center position avoids solemn symmetry and circulates the gaze between the monument, the red horizon and the vast lagoon.
The Artizon Museum highlights the opposition between the moving touch of the sky and the horizontal touch of water. The upper turquoise descends towards a golden yellow then an orange-red. These colors mingle in the reflection without losing the difference between the air and the liquid surface.
W1769 condenses Venice into three forces: the silhouette of San Giorgio, the fire of the sky and the lagoon which extends its colors.
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
San Giorgio placed against the light
The facade and the monastery receive almost no direct light. However, their silhouette combines brown, purple, red and blue. The backlight must therefore remain colored and never become a uniform black cutout.
02
A two-month stay that became a series
Monet arrived in Venice with Alice in the fall of 1908. Seduced by the city, he extended his stay and began around thirty-seven paintings, then taken up in Giverny before their Parisian exhibition in 1912.
03
Two brush gestures for two elements
The museum describes touches that seem to swell and undulate in the sky, against more horizontal passages on the water. This difference in gesture gives twilight its tension and must remain visible in the copy.
Reference image
Read this specific version
The only official image available measures 800 × 629 px. It comes from the Artizon Museum, remains at its native definition and has been converted into a real WebP, without artificial enlargement.
Composition01
The silhouette on the left, the open light on the right
The dark weight of the island is compensated by the bright space. The campanile connects the two halves and creates an axis for reflection.
Color02
Turquoise, gold, orange and carmine red
The gradient should not be smooth. Each area contains touches of the neighboring color, which makes the passage from the cold sky to the burning horizon vibrate.
Matter03
The vertical reflection within horizontal water
The tower projects a dark strip downward, but the surface of the lagoon fragments it. The painter must preserve both this vertical and the horizontal rhythm of the small touches.
Documented benchmarks
Three pieces of information specific to this work
These landmarks concern precisely Twilight in Venice from the Artizon Museum, Wildenstein catalog 1769.
Identification01
Artizon Museum, W1769
This oil on canvas from 1908 measures 73 × 92.5 cm. It is signed and dated "Claude Monet 1908" at the bottom right.
Subject02
San Giorgio Maggiore at dusk
The museum identifies the church on the left and emphasizes its silhouette appearance against the light, in front of a sky that turns redder near the horizon.
Exposure03
Presented in Paris in 1912
The painting belongs to all the views of Venice shown at the Bernheim-Jeune gallery in 1912, after the long revivals carried out by Monet in his workshop in Giverny.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
The Artizon Museum and Wildenstein version 1769
The original format of 73 × 92.5 cm
The silhouette of San Giorgio kept colorful
The difference in gesture between the moving sky and the horizontal lagoon
Work sheet
Title
Twilight in Venice W1769
Artist
Claude Monet (1840 -1926)
Date
1908
Original technique
Oil on canvas
Dimensions
73 × 92.5 cm
Orientation
Horizontal
Conservation
Artizon Museum, Ishibashi Foundation, Tokyo, Japan
Turquoise, gold, burnt orange, carmine red and deep purple give this reproduction a spectacular presence. It functions as a focal point in a living room or dining room, with a discreet dark or golden setting.
01Le plus fidèle aux détails
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
02Le plus décoratif
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*
03Le plus artisanal
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
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