Whites built with pink, purple and green
Large, light flowers should never be filled with pure white. Their colorful shadows give volume and distinguish them from each other.
Canvas reproduction
The format automatically adapts to the original artwork.
Oil painting on rolled canvas, unframed. Custom size available on request.
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Artwork description
Claude Monet · Giverny, 1897 · Kunstmuseum Basel G 1970.11 · W1496
The canvas is entirely covered with flowers seen at the height of the massif. No vase, no table, no horizon line comes to order them. Large white corollas occupy both sides, while reds, purples and yellows group together in the center. Monet thus transforms a garden bed into a panoramic surface where the flowers seem to move forward or backward solely through their colored values.

Look at the work
The lighter flowers are placed in irregular clusters. On the left, the whites tend towards mauve and pink; on the right, they become greener and creamier. Their petals are not drawn one by one: superimposed curls, commas and impasto give volume while retaining the sensation of abundant flowering.
Between these light masses, red and burgundy chrysanthemums form several dark nuclei. Smaller yellow flowers cross the center diagonally, surrounded by acidic greens. The blue-green background appears only in fragments. This distribution avoids the effect of a repetitive pattern and circulates the gaze without a single center.
Monet paints less of an inventory of flowers than a continuous space of colors, where each corolla exists in contrast to those that surround it.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.

Large, light flowers should never be filled with pure white. Their colorful shadows give volume and distinguish them from each other.
Carmine, red-brown, purple and pink overlap in dark groups. Preserving these gaps prevents the center from becoming compact and airless.
The small yellow-green flowers connect the lower left to the upper right. Their sizes and irregular intervals give the essential rhythm of the massif.
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 best free public view measures 600 × 480 px after removing the legend tape. Both native details measure 310 × 390 px. No files have been artificially enlarged; all three media are true decodable WebPs.
Documented benchmarks
These facts concern this precise version and are verified from the notice of the institution which keeps it.
The Kunstmuseum Basel preserves this oil on canvas from 1897 under number G 1970.11. The work measures approximately 81 × 100 cm and corresponds to number 1496 of the Wildenstein catalog raisonné.
The painting bears the signature and date at the bottom left. It belongs to the group of large chrysanthemum beds made by Monet in 1897, distinct from the vase bouquets of his previous decades.
In June 1898, Monet presented four large chrysanthemum paintings listed W1495 to W1498. The Basel version has been deposited in the museum by Dr. hc Emile Dreyfus-Stiftung since 1970.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Chrysanthemum massif, Basel W1496 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1897 |
| Original technique | Oil on canvas |
| Dimensions | 81 × 100 cm |
| Orientation | Horizontal |
| Conservation | Kunstmuseum Basel, Basel, Switzerland |
| Inventory | G 1970.11 · Wildenstein 1496 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Purple white, burgundy, lime yellow, deep green and powder pink give this reproduction an immediate decorative richness. Its horizontal format is suitable above a sofa, sideboard or bed, with cream, gray green or earth pink walls.
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