Houses on the Achterzaan W186 - Claude Monet

Houses on the Achterzaan W186 - Claude Monet

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Houses on the Achterzaan W186 - Claude Monet

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Houses on the Achterzaan W186 - Claude Monet
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Houses on the Achterzaan W186 - Claude Monet

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Trois rendus pour une même œuvre

Claude Monet · The banks of Zaandam in 1871 · Robert Lehman Collection

Houses on the Achterzaan W186hand painted reproduction

Two colorful houses and willows occupy the left bank of the Achterzaan, while a white sailboat slides through the middle of the canal. The water, almost as important as the sky, repeats the facades and foliage in long touches of green, yellow and cream. Monet transforms this inhabited corner of Zaandam into a study of calm, clarity and moving reflections.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
Houses on the Achterzaan W186 - Claude Monet - full view
Houses on the Achterzaan W186Claude Monet · 1871
1871Dating
44.1 × 67.3 cmDimensions of the original
Oil on canvasOriginal technique
1975.1.196 · Wildenstein 186Inventory
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 colorful bank extends into luminous water

On the left, the green and brown houses extend to the canal. An enclosed garden, a small pontoon and several white silhouettes give the bank a domestic scale. The willows, higher than the roofs, hide part of the facades and extend their flexible branches towards the water.

The center remains wide open. A white sailboat, slightly shifted to the right, captures the light and directs the gaze towards the distance. The lower banks of the horizon are indicated by red roofs and thin dark lines; their reflections mingle with the light touches of the canal.

The houses occupy only one edge: this asymmetry leaves the canal enough space to become the real subject of the painting.

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

A balance between dense shore and open water

The left brings together trees, architecture and people. The center and right remain clear, which gives the sailboat a readable trajectory and deep breathing space.

02

A deliberately limited green palette

The Met emphasizes the use of many shades of green. They range from the bright yellow of the reflections to the bluish greens of the houses and the darker tones of the foliage.

03

Reflections longer than objects

Facades and trunks extend into stretched verticals, then are cut by horizontal undulations. The surface appears calm without becoming immobile.

Reference image

Read this specific version

The unique reference comes from the Metropolitan Museum's CC0 file for the object 1975.1.196. The visual of 3,811 × 2,506 px was reduced to 3,000 × 1,973 px, without enlargement, then encoded in WebP.

Composition01

A bank observed at an angle

The facades do not form a frontal alignment. They move back quickly along the canal, and the small pontoons reinforce this viewing angle.

Color02

A white person who attracts without dominating

The sail is the clearest point, but the sky and the reflections regain their cream. It therefore belongs to the atmosphere rather than to an isolated cut.

Matter03

A clear touch in the water

Yellows, greens, whites and browns are made in discontinuous gestures. Visible intervals prevent reflections from becoming compact bands.

Documented benchmarks

Three pieces of information specific to this work

The Metropolitan Museum preserves this 44.1 × 67.3 cm oil on canvas in the Robert Lehman Collection under number 1975.1.196; it bears the number Wildenstein 186.

Travel01

Zaandam on the advice of Daubigny

After his stay in London, Monet went to the Netherlands in 1871. Charles-François Daubigny encouraged him to observe these landscapes of water, low skies, mills and colorful houses.

Letter02

"Hundreds of charming mills and boats"

Monet wrote to Camille Pissarro about his enthusiasm for Zaandam. The canal, the boats and the changes in light allowed him to deepen his painting in the open air.

Collection03

An acquisition by Robert Lehman in 1961

Robert Lehman purchased the work from Marianne Feilchenfeldt. She entered the Metropolitan Museum with her collection in 1975 under number 1975.1.196.

Your reproduction

What the painter must preserve

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

  • Respect the open space of the canal facing the very built bank on the left.
  • Keep the white sail and its reflection as a central light focus.
  • Differentiate between the greens of facades, willows and water.
  • Maintain the small figures, the garden and the pontoons without changing their scale.

Work sheet

Title Houses on the Achterzaan W186
Artist Claude Monet (1840 -1926)
Date 1871
Original technique Oil on canvas
Dimensions 44.1 × 67.3 cm
Orientation Horizontal
Conservation Metropolitan Museum of Art, New York, United States
Inventory 1975.1.196 · Wildenstein 186
Your reproduction Handmade oil painting on canvas
View the official notice - The Met - Robert Lehman Collection 1975.1.196

Presentation in your interior

A palette designed with the room

Its bright greens, creamy sky and horizontal format are suitable for a living room, dining room or office. A light oak, matte gold or deep green frame extends the calm of the canal.

Houses on the Achterzaan W186, painted for your interior

Reproduction of oil painting on canvas 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

Themes of the work

Explore the topics and styles associated with this reproduction.

Claude Monet French painting – French artists Houses of Claude Monet

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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.
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