Björnegaard, a reason at the start of the stay
Monet worked in the Sandvika region during the winter of 1895. Before the monumental views of the Kolsaas, he observed the farms, houses and snow effects around Björnegaard.
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 Monet Museum 5170 · W1393
In Björnegaard, red and cream buildings line up at the foot of a large snowy slope. The roofs, walls and floor respond to each other in large, interrupted flat areas of green, purple and blue. Monet places the red house slightly behind, then uses the long stable in the foreground as a diagonal that leads towards it. The cold sky and snow light up the entire scene without erasing the heat from the facades.

Look at the work
The long construction on the right starts almost from the edge and moves back towards the red house. Its dark green roof and ocher facade organize the perspective. The openings are just a few brown accents, enough to give rhythm to the building.
The white slope closes the background like a large curved screen. Touches of blue, pink and mauve shape the snow, while the purple sky remains denser. Smoke or mist near the house softens the transition between volumes.
The contrast of red and snow is never brutal: Monet connects it with greens, mauves and ochres which circulate throughout the canvas.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
Monet worked in the Sandvika region during the winter of 1895. Before the monumental views of the Kolsaas, he observed the farms, houses and snow effects around Björnegaard.
The long stable advances towards the foreground, while the red house remains set back. The slope behind them reduces atmospheric depth, but the diagonals of the roofs and ground maintain a very constructed space.
The brick red and green of the roof give this canvas a particular intensity. However, they remain grayed out by winter light. Reproduction must avoid colors that are too pure or too dark.
Reference image
The single reference image measures 757 × 591 px. It corresponds to canvas 5170 from the Marmottan Monet museum and has been encoded as a real WebP to its native definition, without artificial enlargement.
Red house, ocher stable and light building overlap without merging. Their heights and angles create a precise progression that must be preserved in all formats.
The main red is accompanied by browns and ochres. The dark green of the roof transitions with the blue shadows. The purples of the sky return discreetly in the snow.
The ground is not detailed in small patterns. Monet uses layers and ample gestures which give the relief of the slope. A few thicker touches are enough to catch the light.
Documented benchmarks
These landmarks concern the painting of the Marmottan Monet museum, inventory 5170 and Wildenstein 1393.
This oil on canvas from 1895 measures 65 × 81 cm. It belongs to the Marmottan Monet museum and has inventory number 5170, which distinguishes this composition from other Norwegian landscapes.
The painting is part of the vast ensemble bequeathed to the museum by Michel Monet, son of the artist. This donation constituted the largest collection in the world of works by Claude Monet.
The pattern is located near Sandvika, west of Oslo. Monet finds red farms, snowy slopes and cold light very different from his Norman or Mediterranean landscapes.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | The Red Houses in Björnegaard W1393 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1895 |
| Original technique | Oil on canvas |
| Dimensions | 65 × 81 cm |
| Orientation | Horizontal |
| Conservation | Marmottan Monet Museum, Paris, France |
| Inventory | 5170 · Wildenstein 1393 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Brick red, moss green, purple, snow blue and ocher give this reproduction a rare warmth in a winter landscape. It goes well with wood, linen, light stone and interiors that seek a colorful accent without garish saturation.
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