À propos de l’œuvre
Maisons dans la neige et mont Kolsaas, par Claude Monet
Claude Monet · 1895 · Uehara Museum · W1404
Houses in the snow and Mount Kolsås W1404hand painted reproduction
Red and brown houses, almost buried under the snow, occupy the foreground. Behind them, Mount Kolsås rises like a long blue mass whose slopes turn pink on contact with winter light. Monet does not paint the snow white: he brings it to life with pink, blue and purple shadows, then takes up these colors in the walls and roofs.
Look at the work
The snowy village brings the view of Kolsås closer without separating houses, light and mountains
The line of roofs forms a low and irregular strip. Two dark trunks, slightly off-center, rise in front of the massif and cut out the depth. The slope of the Kolsås crosses almost the entire width, while a clear sky maintains breathing above the snow.
Buildings are not detailed like architecture. They serve as colorful surfaces where cold light bounces. The red-brown of the walls is crossed with blue, the shadows of the roofs become purple and the white of the floor contains pink. This circulation of the same shades unites all the planes.
In W1404, snow does not cover the color: it transforms it and sends it back from one surface to another.
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 painting from the Norwegian campaign of 1895
Monet stayed in Norway for about two months from February 1895, with his stepson. He works around Sandvika and Mount Kolsås, returning several times to the same reliefs to follow changes in air, snow and lighting.
The massif remains distant, but dominates the entire scene
The mountain is not isolated as a monumental subject. Houses, trees and snow occupy a large place and give the scale of Kolsås. This choice distinguishes this version from the tighter views on the rock wall alone.
A study of colored shadows
The Uehara Museum notice emphasizes the roses and blues used in shaded areas, as well as the blue reflected by the red and brown walls. Reproduction must preserve these subtle passages without neutralizing them in gray.
Reference image
Read this specific version
The single reference image measures 1,206 × 855 px. It corresponds to the reproduction published by the Uehara Museum for W1404 and remains at its native definition, in real WebP, without artificial enlargement.
Bunk plans in flexible strips
The ground, the houses and the massif are spread out without a strong linear perspective. The vertical trunks prevent this horizontal organization from becoming immobile and visually connect the village to the sky.
Snow blue, cold pink and earth red
The range is based on complementary cushioning. The blues give air and distance, the roses warm the snow, then the red browns focus the eye around the homes.
A short touch for snow, wider for relief
The small irregular marks make the roofs and the foreground vibrate. On the mountain, the brush strokes lengthen and follow the slopes, giving the massif a continuous but never rigid presence.
Documented benchmarks
Three pieces of information specific to this work
These landmarks concern precisely the painting kept at the Uehara Museum of Art and registered under the number Wildenstein 1404.
Uehara Museum, W1404
The work bears the titles Houses in the Snow and Mount Kolsaas and Houses in the Snow and Mount Kolsaas. This oil on canvas from 1895 measures 64.2 × 91.2 cm.
Two months of work in the snow
The museum connects painting to the Norwegian stay begun in February 1895. Monet takes up Kolsås from several angles, with constant attention to variations in light caused by time and time.
Shadow retains its own light
The collection commentary emphasizes that shadows are never completely dark. Their low colored light gives the snow its depth and is one of the essential points to preserve in a painted copy.
Your reproduction
What the painter must preserve
Fidelity here depends on precise relationships between light, touch, depth and color temperature.
- The exact version of the Uehara Museum, Wildenstein catalog 1404
- The original horizontal ratio of 64.2 × 91.2 cm
- The pink and blue shadows maintained in the snow and on the massif
- The red-brown walls crossed with cold light rather than surrounded
Work sheet
| Title | Houses in the snow and Mount Kolsås W1404 |
|---|---|
| Artist | Claude Monet (1840 -1926) |
| Date | 1895 |
| Original technique | Oil on canvas |
| Dimensions | 64.2 × 91.2 cm |
| Orientation | Horizontal |
| Conservation | Uehara Museum of Art, Shimoda, Japan |
| Inventory | Uehara Collection · Wildenstein 1404 |
| Your reproduction | Handmade oil painting on canvas |
Presentation in your interior
A palette designed with the room
Slate blue, frosted pink, snow ivory, red brown and mauve gray make up a calm but rich reproduction. This horizontal format goes well with light wood, linen, a natural stone or a wall in warm tones which will bring out the blues.
