A motif painted during the stay of 1895
Monet joins the Sandvika region in the heart of the Norwegian winter. Before and during the Mount Kolsås series, he observes the farms, the fjord and the villages under very different lights.
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 · 1895 · Marmottan 5169 · W1396
Three buildings emerge from a vast snowfield under yellow, pink and sea green skies. Monet reduces the houses to a few brown, blue and white planes, then lets the slope occupy almost the entire picture. The isolation of the pattern, the very high horizon and the circulation of colors transform a Norwegian farm into a study of light.

Look at the work
The main building is located slightly to the right of the center. Its brown gable and light roof stand out in front of a line of turquoise hills. Two lower constructions extend the group without closing the space.
The foreground is covered with long oblique touches of pale blue, pink and purple. The sky takes on these same colors in thinner bands; a yellow zone near the horizon diffuses late daytime light.
The houses give scale, but the real subject is snow becoming a colored surface.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Monet joins the Sandvika region in the heart of the Norwegian winter. Before and during the Mount Kolsås series, he observes the farms, the fjord and the villages under very different lights.
The warm roses advance in the sky and the foreground, while the blue-green ones move the hills away. The darker houses serve as a hinge between these two expanses.
The keys follow the slope and change color depending on the light. Keeping them separate avoids flat ground and restores the very soft relief of the composition.
Reference image
The single reference image measures 3000 × 2203 px. It shows work 5169 and has been encoded as a real WebP at its native definition, without artificial enlargement.
The large part left to the snow produces the silence of the landscape. Going down houses or widening the sky would greatly modify their impression of isolation.
The light palette combines complementary colors without sharp contrast. The browns of buildings must remain gray so as not to dominate the atmosphere.
Oblique brushstrokes structure the foreground. Their direction, more than drawn contours, indicates the undulations of the snowy terrain.
Documented benchmarks
These landmarks concern the painting of the Marmottan Monet museum, inventory 5169 and Wildenstein 1396.
This oil on canvas from 1895 measures 61 × 84 cm. It is kept in Paris under number 5169 and belongs to the group of landscapes brought from Norway.
The painting enters the museum with the legacy of Michel Monet, son of the painter. This ensemble constituted the core of the most important global collection of works by Claude Monet.
W1396 shows more isolated buildings and a much more colorful sky than the Red Houses at Björnegaard W1393. His inventory and his Wildenstein number avoid confusing these compositions.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Landscape of Norway, blue houses W1396 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1895 |
| Original technique | Oil on canvas |
| Dimensions | 61 × 84 cm |
| Orientation | Horizontal |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5169 · Wildenstein 1396 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Powder pink, turquoise, snow blue, brown and pale yellow give this reproduction a luminous freshness. The horizontal format matches light walls, natural wood and cream or pearl gray textiles.
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