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Poppies W274 - Claude Monet

Poppies W274 - Claude Monet

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Poppies W274 - Claude Monet

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Poppies W274 - Claude Monet
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Poppies W274 - Claude Monet

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Claude Monet · Camille and Jean in a field near Argenteuil · Musée d'Orsay

Poppies W274hand painted reproduction

Camille Monet, protected by an umbrella, descends a slope with her son Jean among the poppies. A second pair of silhouettes appears higher on the left, like the echo of the same journey. Painted in 1873 and presented in the first impressionist exhibition in 1874, this canvas has become one of the most emblematic images of the landscapes of Argenteuil.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
Poppies W274 - Claude Monet - full view
Poppies W274Claude Monet · 1873
1873Dating
50 × 65.3 cmDimensions of the original
Oil on canvasOriginal technique
RF 1676 · Wildenstein 274Inventory
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

Two pairs of figures give the field the rhythm of a walk

Camille and Jean occupy the foreground right. The lower edge almost cuts off their feet, which accentuates their proximity. At the top left, two smaller shapes repeat their association and establish a descending diagonal across the meadow.

The left half is covered with irregular red touches, placed on greens and yellows. On the right, the gray-blue grass remains calmer. Trees close the horizon, in front of a house with a red roof and a vast cloudy sky.

The poppies are not counted: a few red accents, denser near the viewer, are enough to make the full extent of the field felt.

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

The diagonal transforms a peaceful scene into a journey

The repetition of the figures connects the top of the slope to the foreground. The gaze descends with them and immediately measures the depth of the terrain.

02

Two colorful areas share the landscape

The very active red-green on the left contrasts with the emptier bluish area on the right. Camille places herself precisely at the meeting of these two fields.

03

The key changes with distance

Nearby poppies are larger and more saturated; those at the bottom become simple dots. Monet thus translates the perspective without drawing each flower.

Reference image

Read this specific version

The visual corresponds to the Coquelicots of 1873, RF inventory 1676 of the Musée d'Orsay and Wildenstein catalog 274. The unique WebP measures 3,000 × 2,287 px, reduced since the Google Art Project digitization by 5,586 px without artificial enlargement.

Composition01

The reds must remain spaced apart

Each touch lets the neighboring greens breathe. A continuous red tablecloth would make the sensation of scattered flowers disappear.

Color02

Camille is shaped by the light of the field

Its color mixes blue, gray and mauve; its beige parasol receives warm accents. It should not appear cut out in front of the landscape.

Matter03

The sky retains very soft shades

Pale blues, grays and whites circulate in wide passages. Their calm balances the more nervous touch of the meadow.

Documented benchmarks

Three pieces of information specific to this work

Painted in 1873, this oil on canvas measures 50 × 65.3 cm. It is kept at the Musée d'Orsay under the inventory RF 1676 and listed Wildenstein 274.

Exposure01

Presented at Nadar in 1874

Monet included Coquelicots in the first exhibition of the Société Anonyme des Artistes, at 35 boulevard des Capucines. The work appears in the catalog under number 95.

Models02

Camille and Jean Monet in the foreground

The woman with the parasol and the little boy are generally identified as the painter's wife and son. Their repetition at the bottom builds the walk more than it describes four portraits.

Don03

Offered to the State by Étienne Moreau-Nélaton

After belonging in particular to Durand-Ruel, Ernest Duez and Jean-Baptiste Faure, the painting entered the national collections thanks to the Moreau-Nélaton donation of 1906.

Your reproduction

What the painter must preserve

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

  • Preserve the diagonal of the two couples.
  • Space out the red accents of the poppies.
  • Differentiate the two meadow areas.
  • Keep Camille and Jean in the same light as the field.

Work sheet

Title Poppies W274
Artist Claude Monet (1840 -1926)
Date 1873
Original technique Oil on canvas
Dimensions 50 × 65.3 cm
Orientation Horizontal
Conservation Musée d'Orsay, Paris, France
Inventory RF 1676 · Wildenstein 274
Your reproduction Handmade oil painting on canvas
Consult the official notice - Musée d'Orsay - Coquelicots, RF 1676

Presentation in your interior

A palette designed with the room

This bright landscape is suitable for a living room, bedroom or dining room. A natural oak, weathered white or dark red setting accompanies the poppies; a gray blue, cream or sage green wall balances the meadow.

W274 poppies, 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

Thèmes de l’œuvre

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The same Last Supper artwork presented as an unframed Fine Art paper print
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Unframed print

A pigment print on Hahnemühle German Etching 310 gsm paper. Its matte, finely textured surface brings out detail and subtle colour. This is a print, not a hand-painted canvas.

Material
Hahnemühle German Etching 310 gsm paper with a matte, softly textured finish.
What you receive
The paper print only, without a frame or mount.
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Printed to order, usually in 1 to 4 business days. Delivery time is additional.
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Carefully packed and shipped with tracking. Delivery time depends on the destination selected above.

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