A composition balanced by emptiness and fullness
The large clear sky opens to the left, while the group of poplars concentrates the colors to the right. The figures placed at the bottom connect these two areas.
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 · plaine des Essarts · 1887 · W1135
A woman walks with an umbrella in the middle of a field punctuated with poppies, accompanied by a child placed slightly behind. On the right, a row of poplars rises into a pale sky and envelops the scene in vibrant light. Painted in 1887, this oil on canvas measuring 74.3 × 93 cm is kept at the Staatsgalerie Stuttgart under the number GVL 16 and corresponds to Wildenstein 1135.

Look at the work
The main figure is placed near the lower edge, in the center, while the child appears smaller on his left. Both silhouettes are absorbed by grasses and flowers. On the right, the trees form a rising mass which contrasts with the large opening of the sky on the left.
The reds of the poppies cross the yellow and green field in discontinuous accents. Blue, purple and green build the foliage; pink, cream and light gray soften the sky. The thousands of distinct touches come together at a distance in an atmosphere of full sun.
The walk is not told as an event: the characters become elements of the landscape, caught in the same luminous vibration as the grasses, flowers and trees.
Composition, touch and light
Three precise elements allow us to understand this composition and the essential difficulties of faithful reproduction.
The large clear sky opens to the left, while the group of poplars concentrates the colors to the right. The figures placed at the bottom connect these two areas.
The dress, umbrella and child are indicated by colored touches rather than precise contours. Their presence remains readable while participating in the rhythm of the field.
The Staatsgalerie highlights the role of thousands of pure color traits. Their interaction forms the composition and gives the impression of a landscape entirely crossed by the sun.
Reference image
Only one exact image of W1135 is used throughout the file. The real WebP measures 2024 × 1654 px, the best reliable public definition identified for this version of the Staatsgalerie, preserved without artificial enlargement.
Its silhouette and parasol give a human measure to the field. It must remain partially mixed with the poppies, without becoming a detailed portrait.
This lightly loaded space makes the composition breathe and increases the height effect of the poplars grouped on the right.
The reds do not form a continuous carpet. Their irregular distribution animates the foreground and gradually leads towards walkers.
Documented benchmarks
The Staatsgalerie Stuttgart documents Felder im Frühling, known in French as Under the Poplars, Sun Effect, Oil on Canvas from 1887, 74.3 × 93 cm, inventory GVL 16 and Wildenstein 1135.
Monet discovered this motif in the vicinity of Giverny. The poplars, fields and light of the plain nourish several compositions from 1887.
The figures remain deliberately summary and integrated into the meadow. They enliven the landscape without interrupting the study of light and color.
The work is numbered GVL 16. The Staatsgalerie presents it under the German title Felder im Frühling, or Fields in Spring.
Your reproduction
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
| Title | Under the poplars, sun effect W1135 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1887 |
| Original technique | Oil on canvas |
| Dimensions | 74.3 × 93 cm |
| Orientation | Horizontal |
| Conservation | Staatsgalerie Stuttgart, Stuttgart, Germany |
| Inventory | GVL 16 · Wildenstein 1135 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
This spring landscape is suitable for a living room, bedroom or dining room. A cream, soft green or pale blue wall and a natural setting extend its soft light.
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