{"id":81277,"date":"2021-09-02T17:42:40","date_gmt":"2021-09-02T15:42:40","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/bridge-at-argenteuil\/"},"modified":"2026-08-29T20:00:51","modified_gmt":"2026-08-29T18:00:51","slug":"bridge-at-argenteuil","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/claude-monet\/bridge-at-argenteuil\/","title":{"rendered":"Claude Monet \u2013 Bridge at Argenteuil"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]\n\n\n\n\n\n\n\n\n<\/colgroup>\n<\/table>\n

The Bridge at Argenteuil is a hand-painted oil reproduction of Monet\u2019s 1874 work: a stone road bridge crosses the Seine on the right, and two moored sailing boats with bare masts lie in front of it.<\/p>\n

The Bridge at Argenteuil, 1874 \u2013 Claude Monet<\/h2>\n

What is on the canvas<\/h3>\n

The canvas lies landscape. On the right a stone road bridge with square piers and shallow
\narches crosses the river; a pale parapet runs along the top and narrows towards the right edge
\nin perspective. At the near end of the bridge stands a square toll house with a pink-cream
\nfacade and a dark hipped roof. In the foreground on the left two sailing boats lie moored, with
\nbare and very tall masts; the nearer hull is white, the second carries a dark waterline, and
\nropes fall diagonally between them. Behind them the far bank runs with a dense line of
\ngreen-grey trees and a pale two-storey house with a brown-red roof. The lower half is taken by
\nwater, painted in short horizontal dashes; long vertical reflections fall beneath the piers and
\nmasts. Above stands a pale blue sky with cumulus. The canvas is signed at the lower right.<\/p>\n

Horizontal and vertical<\/h3>\n

The scene is built from two opposing directions: the horizontals of bridge, parapet and water
\nsurface against the verticals of masts, piers and reflections. It is that crossing that holds
\nthe work together, even though the motif itself is quiet. The water is not painted as a surface
\nbut as a run of short strokes that lengthen into vertical bands beneath the piers \u2014 the
\nreflection is made of the same strokes as the ripples, only turned. This oil on canvas
\nreproduction comes from the years when Monet had already given up smooth finishing while
\nkeeping the firm drawing of architecture: the bridge is exact, the water is not.<\/p>\n

The motif in Monet\u2019s work<\/h3>\n

Monet painted Argenteuil repeatedly and from both banks. The other bridge of the same place,
\nthe railway one, is
\nThe Railway Bridge at Argenteuil<\/a>,
\nwhere industrial structure takes over from sailing. Water without architecture is offered by
\nFishing Boats at Sea<\/a> and
\nTerrace at the Seaside, Sainte-Adresse<\/a>.
\nHow far Monet later broke the stroke apart on water is shown by
\nImpression, Sunrise<\/a>.<\/p>\n

Museum and record<\/h3>\n

The original is held by the National Gallery of Art in Washington<\/strong>, in the
\nPaul Mellon Collection, under accession number 1983.1.24<\/strong>. The record lists it
\nas oil on canvas measuring 79.7 x 60 cm and gives the year as 1874<\/strong>. The year is
\nnot only a line in the record: at the lower right, beside the signature, the number 74<\/em>
\nis painted in, so the work confirms its own date.<\/p>\n

How it behaves on a wall<\/h3>\n

The landscape format, close to 4 : 3, asks for a wide wall. Because the upper third is light
\nand empty, the motif also takes a lower hang, for instance above a low chest of drawers.
\n40 x 30 cm and 50 x 40 cm suit a hallway or an office. 60 x 40 cm and 70 x 50 cm are usual above
\na desk. 80 x 60 cm comes closest to the size of the original<\/strong>, which measures
\n79.7 x 60 cm, and is therefore the most faithful choice. 90 x 70 cm, 120 x 90 cm and
\n150 x 110 cm are for broad walls where the bridge can stretch its full length. As wall decor it
\nstays quiet and does not compete with the furniture beneath it.<\/p>\n

Hand-painted, not a print<\/h3>\n

This hand-painted canvas art is made with a brush rather than a printer. A print lays colour
\nin an evenly thin film, so stone piers and moving water come out equally smooth. Applied by hand
\nthe bridge is painted in quiet, broad areas while the water goes on in hundreds of short strokes
\nstanding above the weave. Light returns differently from those two surfaces, so on the wall too
\nthe water reads livelier than the architecture \u2014 a print cannot do that, because everything on
\nit is the same thickness. Being handwork, each copy differs a little, so a fine art reproduction
\nof this kind stays a single object.<\/p>\n

Custom sizes, frame, ordering and lead time<\/h3>\n

If none of the eight sizes fits, we paint to the size you set, keeping the ratio of the sides.
\nA 3D application is available for the frame \u2014 it is for frame selection only<\/strong> and
\ndoes not place the work in your room; the separate visualisation service does that. The lead
\ntime is 15 to 45 days<\/strong>, because the work is painted to order, and before dispatch
\nwe send you a photograph of the finished piece for approval. Further reproductions on canvas and
\nfamous paintings on canvas are in the
\nClaude Monet gallery<\/a>.<\/p>\n

\nYear of creation:<\/td>\n\n1874<\/td>\n<\/tr>\n
\nOriginal size:<\/td>\n\n79.7 cm x 60 cm<\/td>\n<\/tr>\n
\nPainting style:<\/td>\n\nImpressionism<\/td>\n<\/tr>\n
\nOriginal technique:<\/td>\n\nOil on canvas<\/td>\n<\/tr>\n
\nLocated:<\/td>\n\nNational Gallery of Art, Washington (Paul Mellon Collection)<\/td>\n<\/tr>\n<\/tbody>\n