A prospect made unstable by the flood
The row of trees indicates the route of the now submerged path. Their bases and reflections merge, transforming an ordinary walk into an uncertain space.
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Claude Monet · The flood of the Seine between the trees · Artizon Museum
A row of black trees stands in the water that covered Chemin d'Argenteuil. On the left, Marante Island barely appears under a heavy sky; at the bottom, a factory chimney recalls the modernization of the shore. Between December 1872 and February 1873, melting snow caused the Seine to rise and Monet translated this flood into a dark, tense and almost silent palette.

Look at the work
The trunks start near the center, then tighten to the right. Their reflections descend into the brown and gray surface, making the boundary between soil and river uncertain. Some debris and plants float in the foreground.
On the left, the flooded plain opens up to Marante Island, very low on the horizon. A chimney and small buildings appear between the trees. In the sky, birds in flight introduce diagonals and accentuate the tension of the atmosphere.
The familiar landscape has not disappeared, but its paths and distances have changed: trees alone still allow us to recognize its structure.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The row of trees indicates the route of the now submerged path. Their bases and reflections merge, transforming an ordinary walk into an uncertain space.
Brown, green, bluish gray and muted yellow circulate in the water and sky. The black trunks are themselves bordered by cold or warm lights.
The Artizon Museum emphasizes that the expected castle gives way to a factory chimney. The exceptional flood therefore takes place in a suburb already in full modernization.
Reference image
The visual corresponds to The Flood in Argenteuil, winter 1872 -1873, object 22489 from the Artizon Museum and catalog Wildenstein 252. The unique WebP measures 1,024 × 752 px, definition of the exact selected file, without artificial enlargement.
Nearby trees are black and sharp; those at the bottom become gray and thin. This progression is essential to perspective.
Brown greens, grays, yellows and blues overlap. It should not become a simply gray surface.
Island, houses and fireplace barely emerge. Their discretion amplifies the expanse of water and the weight of the sky.
Documented benchmarks
Painted during the winter of 1872 -1873, this oil on canvas measures 54 × 73 cm. It is kept at the Artizon Museum under object 22489 and listed as Wildenstein 252.
The Artizon Museum connects flooding to melting snow. The path normally to the left of the trees is completely covered by water.
These two landmarks precisely identify the shore of Argenteuil. The landscape combines a low island, walking trees and emerging industry.
The museum notices their flight over the river. Their small diagonals contrast with the rigid verticality of the trunks and liven up this dark-colored scene.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Flood in Argenteuil W252 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1872 - 1873 |
| Original technique | Oil on canvas |
| Dimensions | 54 × 73 cm |
| Orientation | Horizontal |
| Conservation | Artizon Museum, Ishibashi Foundation, Tokyo, Japan |
| Inventory | Item 22489 · Wildenstein 252 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
This winter landscape is suitable for a living room, office or library. A weathered black, smoky brown or dark silver frame accompanies the trunks; a beige, gray blue or deep green wall reveals reflections.
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.
Impression sur toile d’artiste 400 g. Sa texture donne davantage de relief et un aspect tableau, avec plusieurs présentations adaptées au décor.
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.
Claude Monet
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