Two complementary triangles
The river widens towards the left foreground while the promenade advances from the right. Their diagonals meet near distant buildings.
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 · The Argenteuil promenade around 1872 · National Gallery of Art
A clear road runs along the Seine under a row of trees. Two sailboats slide on the water, three figures rest in the shadows and, in the distance, houses and chimneys mark the modern city. Monet balances the promenade, the river and the vast sky in a calm early afternoon light.

Look at the work
The path starts from the lower right edge and narrows towards a turret house. The row of trees creates a regular vertical border, but their foliage and shadows vary with each trunk. Two women and a child appear near the first tree, almost absorbed by the coolness of the undergrowth.
On the left, the Seine forms a triangle of calm water punctuated by two sails. Marante Island gently closes the horizon. Further on, buildings and chimneys frame the house, reminding us that Argenteuil then brings together landscape, habitat, industry and nautical leisure activities.
The path does not lead outside the landscape: it brings together trees, walkers, sailboats and chimneys in the same experience of light.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The river widens towards the left foreground while the promenade advances from the right. Their diagonals meet near distant buildings.
Heights, shadows and density of foliage change slightly. This variation avoids the rigid alignment effect and circulates light.
Fireplaces and buildings remain small and pale. Monet integrates them into the landscape instead of making them a separate or spectacular subject.
Reference image
The open photograph in the National Gallery of Art corresponds to inventory 1970.17.42, W223. It allows us to distinguish the three figures under the trees, the two sailboats, the turret house and the chimneys in the distance.
The low horizon line lets the clouds breathe and creates a feeling of space that the path extends.
Under the trees, greens and browns remain crossed by blue and yellow. Dark areas never completely close the scene.
Herbs, reflections and sun spots are indicated by distinct gestures; distant shapes tighten and lose contrast.
Documented benchmarks
The National Gallery of Art maintains this view under inventory 1970.17.42; the Wildenstein catalog raisonné records it under number 223.
The site combines the towpath, Marante Island and the constructions of Argenteuil, a town where Monet settled at the end of 1871.
The provenance published by the museum indicates a possible purchase from Monet by Paul Durand-Ruel in 1872.
Ailsa Mellon Bruce acquired the painting in 1966 and bequeathed it to the National Gallery of Art in 1970.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Argenteuil W223 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | Around 1872 |
| Original technique | Oil on canvas |
| Dimensions | 50.4 × 65.2 cm |
| Orientation | Horizontal |
| Conservation | National Gallery of Art, Washington, United States |
| Inventory | 1970.17.42 · Wildenstein 223 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
Its deep greens, ocher path and creamy blue sky give serene light to a living room, entrance or office. An oak, light walnut or patinated bronze frame accompanies the horizontal construction without weighing down the landscape.
Custom order
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