An arch readable by repetition rather than by outline
Two green and red-brown curves describe the footbridge. They are interrupted by the material and by the plants, which avoids any regular or decorative design.
Canvas reproduction
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Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · 1918 · Marmottan Monet Museum · W1911
The Japanese footbridge barely crosses this panoramic canvas: its blue green arch merges with a pool loaded with pink, yellow and red-brown. Above, the plants descend in long vertical touches; below, the water lilies and their reflections blur the boundary between the water and the garden. The thick material gives the late pattern an almost wall-mounted presence.

Look at the work
The arch occupies the middle band and remains mostly readable thanks to two parallel dark lines. Its posts are lost in the green, purple and red fallout. The upper center is brighter: warm yellows and roses open a depth without forming a sky.
The pool fills the lower half. The pink water lilies are scattered in small groups, while the yellow and dark green reflections descend almost vertically. The edges left visible in places recall Monet's direct gesture and the great width of this two-meter canvas.
The bridge remains recognizable because its curve still resists, but the entire garden seems to be absorbing it.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.

Two green and red-brown curves describe the footbridge. They are interrupted by the material and by the plants, which avoids any regular or decorative design.
Especially on the right, the emerald green, purple and blue touches fall from the top towards the water. They create a frontal depth and accentuate the large width of the panel.
The colors are not melted into glaze. Yellow, pink, turquoise and red remain visible in the impasto, sometimes even on the not entirely covered edges of the canvas.
Details and visual documents
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 actual photograph at the Marmottan Monet Museum measures 4,222 × 2,022 px. Details of 1,800 × 1,300 px and 1,700 × 1,100 px come directly from this view, without artificial enlargement. All three files were converted and controlled as real WebPs.
Documented benchmarks
These facts concern this precise version and are verified from the notice of the institution which keeps it.
The Marmottan Monet Museum dates this oil on canvas to 1918. It measures 100 × 200 cm, is not signed and bears the number 5079 in the museum inventory as well as the number 1911 in the Wildenstein catalog.
The painting remained in the Giverny family collection. She entered the Marmottan Monet Museum with Michel Monet's bequest to the Academy of Fine Arts in 1966.
Twenty years after the first views of the Japanese bridge, Monet takes over the same garden with a wider touch. The footbridge, the plants and the water are no longer clearly separated: their continuity prepares the immersion of the large water lily decorations.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Japanese Bridge, Marmottan W1911 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1918 |
| Original technique | Oil on canvas |
| Dimensions | 100 × 200 cm |
| Orientation | Panoramic horizontal |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5079 · Wildenstein 1911 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Sage green, turquoise, old pink, earthy yellow and purple give this panoramic reproduction an enveloping presence. It requires a wide, open wall, ideally above a sofa or a low sideboard, with side light that reveals the material.
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