À propos de l’œuvre
Peupliers à Giverny, par Claude Monet
Claude Monet · Giverny · 1887 · W1156
Poplars in Giverny W1156hand painted reproduction
A row of poplars fills the visual field with green, blue, yellow and pink foliage, crossed by a warm light. The horizon disappears behind this plant surface, as if the gaze were at the heart of the motif. Painted in 1887, this oil on canvas measuring 74 × 92.5 cm is kept at the Museum Barberini under the number MB-Mon-24 and corresponds to Wildenstein 1156.
Look at the work
Poplars become a color screen without center or horizon
The trunks rise from a narrow strip at the bottom of the canvas and are lost in the foliage. No single tree serves as the main subject. The masses overlap from left to right and build an unconventional depth, almost entirely contained in the vegetation.
Touches of emerald green, cobalt blue, golden yellow, pink and purple stand out against a light background. The voids between the leaves let in a light that seems to come from the back of the curtain of trees. The red signature at the bottom left responds to the warm accents of the foliage.
By removing the horizon and any central focal point, Monet transforms the poplars into a continuous surface: the landscape remains deep, but its decorative vibration immediately becomes perceptible.
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.
A framing without a strong center
The trees are cut by the edges and distributed irregularly. The gaze does not stop on a dominant trunk; it moves throughout the entire extent of the canvas.
A depth created by superposition
Trunks and foliage pass in front of each other. This subtle stratification is enough to suggest space despite the absence of distant view and horizon line.
Fractional light in the leaves
Light tones do not form a single area. They appear at intervals between darker keys, giving the impression of a sun filtered through a plant screen.
Reference image
Read this specific version
Only one exact image of W1156 is used throughout the file. The real WebP measures 2880 × 2305 px, converted from the best identified public file without artificial enlargement.
Preserve the absence of a visible horizon
The pattern should fill the frame to the edges. Artificially opening a distance would change the enveloping and decorative character of W1156.
Preserve the variety of greens
Yellow green, emerald, olive and blue-green respond to each other without merging. This diversity prevents the foliage from becoming a uniform mass.
Keep the red signature at the bottom left
Its color constitutes a discreet accent at ground level. It participates in the chromatic rhythm without attracting the eye more than the foliage.
Documented benchmarks
Three pieces of information specific to this work
The Museum Barberini documents Poplars at Giverny, oil on canvas from 1887, 74 × 92.5 cm, inventory MB-Mon-24 and Wildenstein 1156.
The poplars of Monet's early years in Giverny
Before the famous 1891 series on the trees of Epte, Monet was already studying the rows of poplars and the lighting effects they produced around Giverny.
A lateral selection that seems to continue out of frame
The museum highlights the absence of a center, the abrupt cropping of trees and the disappearance of the horizon. These choices give the landscape a strong decorative dimension.
A work passed through MoMA before the Museum Barberini
The painting belonged in particular to the Museum of Modern Art in New York from 1951, then joined the Hasso Plattner Collection and the Museum Barberini.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The Wildenstein 1156 version
- The horizon entirely hidden
- The trunks superimposed at the bottom of the canvas
- Pink and yellow light filtered by the leaves
Work sheet
| Title | Poplars in Giverny W1156 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1887 |
| Original technique | Oil on canvas |
| Dimensions | 74 × 92.5 cm |
| Orientation | Horizontal |
| Conservation | Museum Barberini, Potsdam, Germany |
| Inventory | MB-Mon-24 · Wildenstein 1156 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
This plant composition is suitable for a living room, bedroom or dining room. A deep green, warm beige or powder pink wall and a sober setting extend its rhythm of foliage.
