Poplars on the bank of the Epte W1298 - Claude Monet

Poplars on the bank of the Epte W1298 - Claude Monet

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Poplars on the bank of the Epte W1298 - Claude Monet

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Poplars on the bank of the Epte W1298 - Claude Monet
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Poplars on the bank of the Epte W1298 - Claude Monet

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Claude Monet · 1891 · Poplar Series · W1298

Poplars on the bank of the Epte W1298hand painted reproduction

A row of poplars rises in a milky blue sky, then repeats in Epte under the dark strip of the shore. Painted in 1891, this 100.3 × 65.2 cm vertical oil on canvas is kept at the Philadelphia Museum of Art under number 1954-66-8 and corresponds to Wildenstein 1298.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
Poplars on the bank of the Epte W1298 - Claude Monet - full view
Poplars on the bank of the Epte W1298Claude Monet · 1891
1891Dating
100.3 × 65.2 cmDimensions of the original
Oil on canvasOriginal technique
1954-66-8 · Wildenstein 1298Inventory
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

The bank separates two vertical rhythms

The trees tighten to the right and leave more sky to the left. Their tops remain visible, unlike several more radically cut versions of the series. Very low, the bank forms a dark line which stops the trunks before their reflections begin again in the water.

The foliage combines soft green, yellow, pink and orange on a gray blue background. The barrels change from ocher to purple and some are covered with blue-green ivy. In the river, the same tones fragment into more vertical and more melted touches.

W1298 builds its balance between poplar momentum, the horizontal bar of the shore and the unstable recovery of trees in the water.

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 progression from left to right

The smallest and lightest trees appear on the left; taller, darker trunks focus to the right. This progression gives movement to the row without a drawn perspective.

02

The decisive role of the shore

The strip of dark earth is narrow but essential. It separates the real world from its reflection, anchors the trunks and intensifies the yellows and roses placed just above.

03

A precise version of the series

Number 1954-66-8 and reference W1298 identify the vertical canvas of Philadelphia. They avoid confusing it with The Three Trees of Tokyo, The Four Trees of the Met or the wind-tilted poplars of the Musée d'Orsay.

Reference image

Read this specific version

Only one image is used: a high-resolution photograph of version 1954-66-8, converted to a true 2000 × 3000 px WebP from a 3456 × 5184 px source, without artificial enlargement.

Composition01

A height distributed in a fan

The peaks form an upward slope and the trunks are neither parallel nor evenly spaced. Maintaining these gaps gives the alignment its natural character.

Color02

Autumn colors in a blue air

Yellows and pinks are mixed with gray greens and blues. They should remain bright without becoming saturated, as the fresh air unifies the entire scene.

Matter03

Two materials for the same pattern

Above the bank, the trunks are firmer and the foliage more punctuated. In the water, the shapes lengthen and blur; this difference makes the reflection credible.

Documented benchmarks

Three pieces of information specific to this work

The Philadelphia Museum of Art documents Poplars on the Bank of the Epte River, oil on canvas 1891, inventory 1954-66-8.

Series01

The Poplars of 1891

Monet painted more than twenty views of the Epte trees during the summer and autumn of 1891. The variations relate to light, season, number of trunks and their cutting in the frame.

Merchant02

A work linked to Durand-Ruel

The painting belongs to the history of the Durand-Ruel gallery, which plays a decisive role in the presentation and distribution of Monet's impressionist series.

Provenance03

Legacy Anne Thomson

The work entered the Philadelphia Museum of Art in 1954 by the bequest of Anne Thomson, in memory of her father Frank Thomson and her mother Mary Elizabeth Clarke Thomson.

Your reproduction

What the painter must preserve

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

  • The exact version 1954-66-8, Wildenstein 1298
  • The original vertical format of 100.3 × 65.2 cm
  • The gradual rise of the peaks towards the right
  • The difference in touch between trees and their reflections

Work sheet

Title Poplars on the bank of the Epte W1298
Artist Claude Monet (1840 -1926)
Date 1891
Original technique Oil on canvas
Dimensions 100.3 × 65.2 cm
Orientation Vertical
Conservation Philadelphia Museum of Art, Philadelphia, United States
Inventory 1954-66-8 · Wildenstein 1298
Your reproduction Handmade oil painting on canvas
Consult the official notice - Philadelphia Museum of Art · 1954-66-8

Presentation in your interior

A palette designed with the room

Its vertical format is suitable for a narrow section of wall, an entrance or a reading corner. Gray blue, light wood and some old pink accents accompany the foliage; soft side light reveals the depth of the keys.

Poplars on the bank of the Epte W1298, 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

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Claude Monet French painting – French artists Impressionist

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