À propos de l’œuvre
La maison vue du jardin aux roses, par Claude Monet
Claude Monet · 1922 -1924 · the horizontal and unsigned version
The House seen from the rose gardenhand painted reproduction
The blue house can be seen behind a curtain of mauve, green and pink foliage; the path is nothing more than a clear passage in the center of a late canvas where the touch seems to completely envelop the motif.
Look at the work
The garden covers the house to the limit of abstraction
The facade is placed on the left, but it only appears through a few blue and green rectangles. Dark branches cross it and extend towards the large mass of rose bushes which occupies the right. In the center, a lighter area opens a passage through this very dense vegetation.
The bottom of the canvas mixes turquoise green, pale pink and blue without clearly separating the path, the flowerbeds and the shadows. The touches are oriented in several directions: vertical near the house, curved in the foliage, more horizontal in the foreground. The movement of the material thus replaces the traditional perspective.
The house remains present as a memory of blue shapes; the garden becomes a continuous space where each color seems to grow on the previous one.
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.
A facade reduced to a few blue plans
The rectangles of the house are never isolated from the foliage. They provide an architectural benchmark while retaining the very free unity of the surface.
A large dark mass on the right
Deep greens, purples and burgundy form a counterweight to the central light area. This density prevents the composition from dispersing.
An almost limitless foreground
The path and the plantations mingle in pink, turquoise and white touches. Depth comes from their temperature and their superposition, not from an outline.
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 full view reaches 2967 × 2601 px. The two details of 1500 × 1500 px and 1500 × 1600 px are direct cropping by the same master, without artificial enlargement. All three files are true high definition WebPs.
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.
Inventory 5103 of the Marmottan Museum
This horizontal canvas measures 89 × 100 cm and is unsigned. The catalog raisonné identifies it as Wildenstein 1947.
A late view from 1922 to 1924
The museum places the work between 1922 and 1924, a period during which Monet took over the house, the path and the rose bushes in several formats and colorful ranges.
The Michel Monet legacy of 1966
Preserved after the painter's death, the painting joins the Marmottan Monet Museum through the legacy of his son. Today it has inventory number 5103.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The blue rectangles of the house half hidden
- The dark mass of foliage on the right side
- The light pink passage in the center of the composition
- The thick touch without losing the turquoise and mauve transitions
Work sheet
| Title | The House seen from the rose garden |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1922 - 1924 |
| Original technique | Oil on canvas |
| Dimensions | 89 × 100 cm |
| Orientation | Horizontal |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5103 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
This colder version is suitable for a quiet and contemporary room. Its blues, mauves and greens interact with linen, light wood, pearl gray, powder pink or a deep blue wall.
