One of two views from the swamp
The Fitzwilliam Museum points out that this painting belongs to the only two versions of the series observed from the marsh, and not from Monet's boat on the Epte.
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 · 1891 · Cambridge PD.9-1966 · W1313
Four poplars climb to the left edge then their row folds deep into a luminous curve. Seen from the Limetz marsh, this 1891 composition concludes the Poplars series under the number Wildenstein 1313. It is kept at the Fitzwilliam Museum in Cambridge.

Look at the work
The vertical trunks in the foreground occupy the left and are cut by the upper edge. Behind them, the poplars follow the bend of the Epte, return towards the center then disappear in the distance. This spiral movement gives the landscape a very constructed structure.
The blue and white sky opens the right half, while the bright green foliage concentrates the material on the left. On the ground, warm yellows respond to greens. Dark trunks serve as punctuation and prevent light from dissolving the entire scene.
W1313 associates the verticality of the trunks with a shifty curve: the series almost becomes a study of abstract rhythm.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The Fitzwilliam Museum points out that this painting belongs to the only two versions of the series observed from the marsh, and not from Monet's boat on the Epte.
The work bears the signature Claude Monet at the bottom right. It is registered under the inventory PD.9-1966 and the Wildenstein number 1313.
Put up for sale by the municipality, the poplars risked being felled. Monet makes an arrangement with the lumber merchant so that they remain standing until his series is completed.
Reference image
Only one image is used: the exact view of W1313, preserved as a real WebP of 1051 × 1024 px, without artificial enlargement.
The depth depends on this contrast. The first trunks should remain firm while the back row gradually narrows into paler light.
The midsummer palette is bright but not uniform. The greens change from yellow to blue; the sky mixes azure and clouds in oblique touches.
The foliage is built in small masses, the sky in wider passages and the trunks in vertical lines. These distinct directions give vitality to the painting.
Documented benchmarks
The Fitzwilliam Museum preserves this painting under inventory PD.9-1966; it corresponds to the last issue of the series, Wildenstein 1313.
This oil on canvas from 1891 measures 89 × 92 cm. The Claude Monet signature appears at the bottom right.
Passed from Monet's workshop to Gimpel Fils, the painting was purchased by Captain Stanley William Sykes then bequeathed to the museum in 1966.
Monet works about two kilometers from Giverny. The row follows the river and allows him to study the same trees in different seasons, lights and frames.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Poplars, seen from marsh W1313 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1891 |
| Original technique | Oil on canvas |
| Dimensions | 89 × 92 cm |
| Orientation | Almost square |
| Conservation | Fitzwilliam Museum, Cambridge, United Kingdom |
| Inventory | PD.9-1966 · Wildenstein 1313 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
The verticality of the trees and the summer light give momentum to a living room, an entrance or an office. The reproduction matches natural wood, off-white walls and gray blue accents.
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