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Weeping Willow, Marmottan W1877 - Claude Monet

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Weeping Willow, Marmottan W1877 - Claude Monet

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Weeping Willow, Marmottan W1877 - Claude Monet

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Weeping Willow, Marmottan W1877 - Claude Monet

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Claude Monet · 1918 -1919 · Marmottan Monet Museum · W1877

Weeping Willow, Marmottan W1877hand painted reproduction

A red-brown trunk rises slightly to the left of the center before dividing under a curtain of blue-green branches. On the right, a yellow and mauve opening suggests the light of the pool; at the bottom, the water is reduced to a few horizontal bands. The willow occupies the entire square and transforms the Giverny tree into colored architecture.

Oil on canvasHand paintedPhoto before shipmentPossible alterations
Weeping Willow, Marmottan W1877 - Claude Monet - full view
Weeping Willow, Marmottan W1877Claude Monet · 1918 -1919
1918 - 1919Dating
100 × 100 cmDimensions of the original
Oil on canvasOriginal technique
5078 · Wildenstein 1877Inventory
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 red trunk divides the square between dense foliage and luminous opening

The left side is compact, constructed by dark greens, blues and purples laid in short touches. The central trunk, carmine red and brown, provides the most stable direction of the image. Its bifurcations gradually fade into the upper foliage.

On the right, long green fallout frames a lighter passage where yellow, mauve and blue-gray mingle. The bottom finally introduces turquoise, orange and purple horizontals: they signal the water and prevent the plant mass from completely closing the space.

The willow is described less by its leaves than by the contrast between an ascending trunk, drooping branches and almost horizontal 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.

Analysis of Weeping Willow, Marmottan W1877 - Claude Monet
01

A trunk built by several reds

The central vertical mixes carmine, brick, purple and blue. These colors must remain visible side by side to preserve the volume of the wood and the vibration of the material.

02

Two opposite foliage densities

On the left, the keys are tight and cold; on the right, they move apart around a yellow light. This asymmetry gives depth despite the square format.

03

Water reduced to a few strips

The turquoise and orange touches at the bottom form only a small portion of the canvas. Their horizontal direction is, however, decisive in distinguishing the edge, the reflections and the long branches.

Details and visual documents

Observe the material and the exact version

The additional images show the difficult-to-read passages in the full view and, where it exists, the actual appearance of the work at the museum.

The red trunk and the bifurcation of the branches - detail of Weeping Willow, Marmottan W1877 - Claude Monet
The red trunk and the bifurcation of the branchesThe detail shows reds, purples and blues superimposed in the wood. Around, the green and purple touches alternately follow the rise of the trunk and the fall of the branches.
The yellow opening and reflections of the pool - detail of Weeping Willow, Marmottan W1877 - Claude Monet
The yellow opening and reflections of the pelvisTo the right and bottom, warm yellows meet turquoise, purple and orange. The horizontal bands of water appear behind the branches without becoming a clear horizon.

The actual photograph at the Marmottan Monet Museum measures 3,279 × 2,857 px. The two native details measure 1,500 × 1,800 px and 1,800 × 1,400 px. They preserve the material of the canvas without artificial enlargement; the three files are real WebPs.

Documented benchmarks

Three pieces of information specific to this work

These facts concern this precise version and are verified from the notice of the institution which keeps it.

Identification01

Marmottan 5078, Wildenstein 1877

The Marmottan Monet Museum dates this oil on canvas from 1918 -1919. It measures 100 × 100 cm, or 121.5 × 131.5 × 5.5 cm with its frame, is not signed and bears the numbers 5078 and Wildenstein 1877.

Collection02

The Michel Monet legacy of 1966

Preserved in the Giverny collection, the painting was bequeathed by Michel Monet to the Academy of Fine Arts in 1966. Today it belongs to the large collection of late works presented by the Marmottan Monet Museum.

Context03

The Giverny willow after the war

Monet painted several weeping willows around 1918 -1919. The pattern allows him to associate the structure of a real tree with increasingly free passages of color, at a time when he was also working on the large water lily decorations.

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 Marmottan Monet Museum, 5078 and W1877
  • The original square format of 100 × 100 cm
  • The red-brown trunk kept distinct from the surrounding greens
  • The difference between vertical fallout and horizontal water bands

Work sheet

Title Weeping Willow, Marmottan W1877
Artist Claude Monet (1840 -1926)
Date 1918 - 1919
Original technique Oil on canvas
Dimensions 100 × 100 cm
Orientation Square
Conservation Marmottan Monet Museum, Paris, France
Inventory 5078 · Wildenstein 1877
Your reproduction Handmade oil painting on canvas
Consult the official notice - Marmottan Monet Museum

Presentation in your interior

A palette designed with the room

Deep green, brick red, gray blue, ocher yellow and turquoise give this square reproduction a calm but intense presence. It works on a secluded wall, in an office or library, with dark wood and soft, slightly side light.

Weeping Willow, Marmottan W1877, painted for your interior

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

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.
Made to order
Printed to order, usually in 1 to 4 business days. Delivery time is additional.
Delivery
Carefully packed and shipped with tracking. Delivery time depends on the destination selected above.

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These examples explain materials and presentation, not the artwork you are buying. Your order uses the artwork and options selected in the configurator. Colours can vary by screen; production and delivery times are estimates.

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