The Pie W133 - Claude Monet

The Pie W133 - Claude Monet

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The Pie W133 - Claude Monet

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The Pie W133 - Claude Monet
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The Pie W133 - Claude Monet

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Claude Monet · A magpie on a snowy barrier · Musée d'Orsay

The Pius W133hand painted reproduction

A black magpie is placed on a gate, a tiny accent living in the expanse of snow. The fence and hedge cut the landscape in two, while the blue-purple shadows in the foreground lead to the trees, roofs and milky sky. Monet transforms white into a range of colors and makes winter light the main subject.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
The Pie W133 - Claude Monet - full view
The Pius W133Claude Monet · 1868 -1869
1868 - 1869Dating
89 × 130 cmDimensions of the original
Oil on canvasOriginal technique
RF 1984 164 · Wildenstein 133Inventory
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

A black note measures the entire luminous extent of snow

The gate occupies the left of the center and its vertical uprights interrupt the long hedge. The magpie rests on the upper crossbar like a punctuation. Behind, a few branches and chimneys emerge above the snow-covered walls.

In the foreground, shadows stretch diagonally from the right. They are neither gray nor black: they mix blue, mauve, green and cream. The sky and snowy surfaces exchange tones, which makes the edge of the horizon deliberately soft.

White is never empty: it changes according to sky, shadow, earth and reflected light.

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 composition regulated like a staff

The Musée d'Orsay compares the magpie placed on the portal to a note on a musical staff. The hedge provides the horizontal line and the gate uprights create the vertical rhythm.

02

Sun and shadow build space

The large diagonal of shadow in the foreground gives depth to the terrain. The light and cold areas oppose each other without hard contours, making snow that is both solid and melting noticeable.

03

A clear painting that was still daring in 1869

Monet replaces the traditional browns of the winter landscape with colored whites and luminous blues. This audacity contributed to the refusal of the painting by the jury of the Salon of 1869.

Reference image

Read this specific version

The reference corresponds exactly to the RF 1984 164 inventory of the Musée d'Orsay, Wildenstein 133 version. The high definition file was reduced to 3,000 × 2,034 px and encoded in WebP for precise zoom.

Composition01

The magpie must remain small but perfectly placed

Its warm black contrasts with the light crossbar. Enlarging it or hardening its details would reduce the impression of vast winter silence.

Color02

The shadows are colorful

Periwinkle blues, purples and grey greens shape the snow. Neutral grays that are too uniform would make the light characteristic of the work disappear.

Matter03

The background remains light and atmospheric

Trees, walls and chimneys are indicated with less contrast than the gate. This hierarchy maintains depth despite the white dominance.

Documented benchmarks

Three pieces of information specific to this work

Painted in Étretat during the winter of 1868 -1869, this oil on canvas measuring 89 × 130 cm is kept at the Musée d'Orsay under the inventory RF 1984 164 and classified Wildenstein 133.

Location01

A corner of the countryside in the Étretat region

The Orsay notice specifies that Monet creates the painting on the motif. He applies the same observation requirement to fugitive states of nature as to landscapes of good weather.

Reception02

Refused at the Salon of 1869

The very clear bias, based on perception rather than academic description, confuses the jury. Orsay presents the work as a major milestone in the impressionist landscape before the group's first exhibition.

Collection03

Purchased for national museums in 1984

After the Carlander, Durand-Ruel and Guerlain collections, La Pie was acquired in 1984 then assigned to the Musée d'Orsay. It bears the number RF 1984 164.

Your reproduction

What the painter must preserve

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

  • Place the magpie exactly on the gate crosspiece.
  • Preserve the blue and mauve shadows of the foreground.
  • Keep the hedge dark but laden with snow.
  • Avoid uniform pure white in the sky and on the ground.

Work sheet

Title The Pius W133
Artist Claude Monet (1840 -1926)
Date 1868 - 1869
Original technique Oil on canvas
Dimensions 89 × 130 cm
Orientation Horizontal
Conservation Musée d'Orsay, Paris, France
Inventory RF 1984 164 · Wildenstein 133
Your reproduction Handmade oil painting on canvas
Consult the reference notice - Musée d'Orsay - RF 1984 164

Presentation in your interior

A palette designed with the room

Its large horizontal format and bluish whites illuminate a living room, bedroom or room with natural materials. An off-white, blond oak or bluish gray frame reinforces the feeling of air without closing the landscape.

La Pie W133, 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.

Classic Paintings for Decoration Claude Monet French painting - Top 1000 selection

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Compare paper prints, printed canvas, hand-painted oil and digital files. The physical examples illustrate each finish; your order uses the artwork selected above.

The same Last Supper artwork presented as an unframed Fine Art paper print
Unframed print

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.
Made to order
Printed to order, usually in 1 to 4 business days. Delivery time is additional.
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Carefully packed and shipped with tracking. Delivery time depends on the destination selected above.

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