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Gondolas in Venice, Nantes W1772 - Claude Monet

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Gondolas in Venice, Nantes W1772 - Claude Monet

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Gondolas in Venice, Nantes W1772 - Claude Monet

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Gondolas in Venice, Nantes W1772 - Claude Monet

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Claude Monet · 1908 · Nantes 2064 · W1772

Gondolas in Venice, Nantes W1772hand painted reproduction

A dark gondola emerges from an almost white space. Its blue-green hull, raised bow and reflection occupy the lower half, while the pali rise in the mist. Monet reduces Venice to a few verticals, a curved mass and trails of water: the city disappears, but its atmosphere immediately becomes sensitive.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
Gondolas in Venice, Nantes W1772 - Claude Monet - full view
Gondolas in Venice, Nantes W1772Claude Monet · 1908
1908Dating
81 × 65.2 cmDimensions of the original
Oil on canvasOriginal technique
2064 · Wildenstein 1772Inventory
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 gondola and its reflection condense Venice into a study almost stripped of all architecture

The boat places itself slightly to the right and advances diagonally in the vertical field. Behind it, a second, lighter volume can be guessed. The mooring posts form thin or thick lines which punctuate the void and give depth to this mist without horizon.

Most of the canvas retains an ivory and pinkish gray tone. Against this clarity, the very dark blue-green of the hull becomes the visual core. In the water, the keys fragment and bend; the reflection is not a copy of the boat, but an autonomous material.

A few pillars, a hull and water are enough: Monet makes the apparent unfinished the most direct form of Venetian printing.

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

The latest study of the stay in Venice

Claude Monet's House and Gardens places this sketch on December 3, 1908, a few days before departure. It is one of the thirty-seven paintings brought back from the city and is distinguished by its spontaneity, its wide open background and its very tight pattern.

02

A work offered to Georges Clemenceau

Monet gave this painting to his friend Georges Clemenceau. She then entered the Museum of Fine Arts in Nantes with the Clemenceau bequest of 1930, which is recalled today by the 2064 inventory of the Museum of Arts.

03

A space constructed by values more than by drawing

The hull remains the only truly dense mass. The posts move away because their contrast varies, while the pale touches of the bottom suggest other boats. Depth arises from a paint relationship, not a detailed decor.

Reference image

Read this specific version

The single reference image measures 2,500 × 3,200 px. It was produced from a high definition scan of the work, reduced since 8,196 × 10,488 px then encoded as a real WebP; no dimensions have been enlarged.

Composition01

A large dark curve in a vertical format

The bow and edge of the gondola form an upward movement. This curve responds to straight pali and prevents the very bare composition from appearing static.

Color02

Ivory, petrol blue and mist purple

The main contrast is the cold shell with an almost cream background. Fine touches of mauve, pale green and blue gray connect these two extremes without closing the space.

Matter03

A visible material, left open

Thin passages allow the clear preparation to breathe, while the shell receives a more loaded paint. A faithful copy should not evenly fill calm areas or smooth brush marks.

Documented benchmarks

Three pieces of information specific to this work

These benchmarks concern exactly Gondolas in Venice from the Nantes Museum of Arts, inventory 2064 and Wildenstein 1772.

Identification01

Nantes 2064, W1772

This vertical oil on canvas from 1908 measures 81 × 65.2 cm. The catalog raisonné records it under number 1772, at the end of the group of Venetian views.

History02

From the gift to Clemenceau at the museum

The relationship between Monet and Clemenceau gives this painting a particularly direct provenance. The legacy of 1930 integrated it into the Nantes collections, where it dialogues today with the Water Lilies of 1917.

Series03

An exception among palaces and canals

While several paintings from Venice develop precise facades, W1772 focuses on boats and pali. The floating motif announces the freedom of certain late works by Giverny.

Your reproduction

What the painter must preserve

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

  • The exact version of Nantes, inventory 2064 and Wildenstein 1772
  • The original vertical format of 81 × 65.2 cm
  • The blue-green shell kept dense facing the vast ivory background
  • Open areas and brush marks preserved without decorative filling

Work sheet

Title Gondolas in Venice, Nantes W1772
Artist Claude Monet (1840 -1926)
Date 1908
Original technique Oil on canvas
Dimensions 81 × 65.2 cm
Orientation Vertical
Conservation Nantes Museum of Arts, Nantes, France
Inventory 2064 · Wildenstein 1772
Your reproduction Handmade oil painting on canvas
Consult the official notice - Nantes Museum of Arts

Presentation in your interior

A palette designed with the room

Warm ivory, petrol blue, mist purple, pearl gray and sea green give this reproduction a presence that is both minimalist and expressive. Its vertical format works in an entrance, at the end of a corridor or between two base units.

Gondolas in Venice, Nantes W1772, painted for your interior

An oil reproduction 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

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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.
Delivery
Carefully packed and shipped with tracking. Delivery time depends on the destination selected above.

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These examples explain materials and presentation, not the artwork you are buying. Your order uses the artwork and options selected in the configurator. Colours can vary by screen; production and delivery times are estimates.

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