{"id":81295,"date":"2021-09-02T17:42:44","date_gmt":"2021-09-02T15:42:44","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/fruit-trees\/"},"modified":"2026-09-06T20:01:41","modified_gmt":"2026-09-06T18:01:41","slug":"fruit-trees","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/claude-monet\/fruit-trees\/","title":{"rendered":"Claude Monet \u2013 Fruit Trees"},"content":{"rendered":"
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Fruit Trees is a hand-painted copy of a study by Monet: a low fruit tree with a wide-spreading crown and dark red fruit stands in front of a bank of dense foliage, with a band of bright green grass running below it. We paint it in twelve sizes or to your own measurement, oil on canvas, with a photograph of the finished work sent for approval before dispatch. Which of Monet\u2019s canvases of fruit trees is the original of this particular reproduction is not established, so you will find neither a year nor a museum here.<\/p>\n

Fruit Trees \u2013 Claude Monet<\/h2>\n

What is shown?<\/h3>\n

At the centre stands a low fruit tree with a pale, almost white trunk that forks near the top. The crown spreads wider than it is tall, in yellow-green and dark green strokes, with dark red fruit scattered among them \u2014 a few dozen dots the eye reads as fruit at once, because they are the only warm colour in the whole green mass. Behind the tree and to the right a bank of dense foliage rises in olive, ochre and rust, closing completely in the top right corner. On the left the same bank falls away and brown-red earth shows beneath it; among the foliage to left and right stand eight or more pale, thin trunks. The lower fifth is a band of bright green grass with darker shadows, and at the top left there is a wedge of blue sky with a pale grey bar of cloud. There is nothing else on this canvas.<\/p>\n

How was the work made?<\/h3>\n

Landscape in format, and made quickly \u2014 this is a study, not a show piece. The stroke is very free, thin and dry throughout, and the grain of the ground shows through the colour even in the dark passages. That granular, dry mark is exactly why the work looks quick: the colour is not worked but dragged across, and where the tool skipped, a gap was left that nobody closed. What the original was made with we do not claim here: a mark like that allows a dry medium as readily as thinly applied oil, and our source will not settle it. Our own canvas painting repeats those marks in oil.<\/p>\n

Why is this a study and not a landscape?<\/h3>\n

Because it is not finished and never meant to be. The tree is not drawn and then coloured in; it is assembled out of the directions of the foliage. The strokes turn the way the branches grow, and the eye builds a crown out of them although no single stroke is a leaf. The fruit is only dots. The bank behind is one single mass, without a drawn trunk anywhere except those eight or more pale ones. This is a note made in one afternoon, not the description of a place, and that is exactly why it holds up in a room where an exact landscape would look harsh.<\/p>\n

Deliberately not stated here<\/h3>\n

Monet painted fruit trees again and again \u2014 at V\u00e9theuil, at Giverny, in blossom and in fruit \u2014 and the surviving canvases differ in size, in framing and in year. Which of them is the original of this particular reproduction is not established, so you will find no year here, no collection name, no inventory number \u2014 and no size for the original either. This table used to carry a size we could not confirm in any public museum or catalogue record, and we removed it: we would rather say less than state a number we cannot stand behind about someone else\u2019s painting. We say what is visible on the canvas, and nothing beyond it.<\/p>\n

Other fields and gardens by Monet<\/h3>\n

If what draws you to this subject is precisely that \u2014 a field or a garden with no story, only colour and a time of day \u2014 there are four related canvases in our range. A poppy field with tiny figures: Poppies near Argenteuil<\/a>. A field in flower, where the bands of colour run into the distance: Field of Tulips in Holland<\/a>. A garden with white dresses, large and upright: Women in the Garden<\/a>. And a corner of a garden, the closest of the four to this one in how much it takes in: Corner of the Garden at Montgeron<\/a>. All four are larger and more finished than this study; an impressionist painting this sparing is the exception among them.<\/p>\n

How is our hand-painted version made?<\/h3>\n

The difficulty of this subject is not the drawing but the restraint. The painter has to stop exactly where it would be easiest to carry on: the crown must stay a mass with a direction and must not become a heap of leaves, and the fruit must stay dots and must not become apples. So the work goes in order \u2014 the bank behind first, because it decides how light the crown may be, then the crown in two greens, then the grass, and only last the red dots, of which there are the fewest. Put them on too early and they get covered in green and the work starts again. An oil painting reproduction of this kind is often quicker than a large canvas but less forgiving: with colour this thin, corrections cannot be hidden.<\/p>\n

Which size for which wall?<\/h3>\n

Short answer: 50 x 40 cm above a chest of drawers or in a hallway, 100 x 80 cm above a sofa in the living room, 150 x 110 cm for a large empty wall. Our sizes our sizes go well beyond it \u2014 at the large sizes the painter does not multiply the strokes but enlarges them, so the impression of quick work survives. A painting for living room walls looks right at about two thirds of the sofa width. This is impressionist wall art that lies wide and low, so it sits well above longer, low furniture and less well between tall shelves.<\/p>\n

Made to measure, stretcher and frame<\/h3>\n

If none of the twelve sizes suits, we paint to measure \u2014 send the width and the height and we will quote a price and a lead time<\/a>. The canvas is stretched over a wooden stretcher and the edges are painted, so it does not look unfinished without a frame. Because the subject is wide and quiet, a narrow dark moulding suits it better than a broad gilt one; at the largest sizes we can send the canvas rolled in a tube for you to stretch on site \u2014 just say so in advance so we can prepare the stretcher separately.<\/p>\n

Delivery and guarantee<\/h3>\n

We ship to sixteen countries in the European Union, among them Slovenia, Croatia, Austria, Germany, Italy and Hungary, wrapped in protective film and packed in a rigid box. Before dispatch we send a photograph of the finished work; if something on it is wrong, it is corrected before the piece leaves the workshop. Lead time is longer at the large sizes. You will find every Monet reproduction we paint in the Claude Monet gallery<\/a>, and we write about painting and about choosing a subject on the blog<\/a>.<\/p>\n

Frequently asked questions<\/h3>\n

Why is there no year in the table?<\/h4>\n

Because it is not established which canvas of fruit trees by Monet is the original of this particular reproduction. We would rather give no year at all than the wrong one.<\/p>\n

How long does it take to make?<\/h4>\n

A few weeks at the usual sizes and longer at the largest; we give you the exact date when we confirm the order, along with the price, and we keep to it.<\/p>\n

There used to be a size for the original. Where did it go?<\/h4>\n

We removed it, because we could not confirm it in any publicly available museum or catalogue record. The sizes we paint are in the selector above the description, and those of course hold.<\/p>\n

Is this a print?<\/h4>\n

It is not. Every piece is a hand-painted oil painting, made to order. With this subject the difference is especially visible: a print evens out the thin, dry strokes, while work by hand keeps the places where the canvas comes through the paint.<\/p>\n

Which size should I choose?<\/h4>\n

For an ordinary room, 100 x 80 cm. The smaller sizes, 50 x 40 cm and below, are closer to the character of the original but get lost on a big wall; before ordering, measure the width of the furniture it will hang above.<\/p>\n

Can I have a size that is not listed?<\/h4>\n

You can. Working to measure is normal here; send the width and height you want and we will quote a price and a lead time before anything starts.<\/p>\n

How is it delivered?<\/h4>\n

Stretched on its wooden stretcher, wrapped in protective film and packed in a rigid box; at the largest sizes rolled in a tube by arrangement.<\/p>\n

Why is the fruit so hard to see?<\/h4>\n

Because on the original it is only dots. Monet did not paint it as fruit but as the one warm colour in a green mass, and that sparingness is what makes the eye read it. Too many, or too large, and the subject loses its balance.<\/p>\n

How high should I hang it?<\/h4>\n

Put the centre of the canvas about 150 cm above the floor. Because the subject is wide and low, it sits better a little lower than an upright work would; higher than that and it seems to float.<\/p>\n

Is the original signed?<\/h4>\n

On the source we work from no signature is clearly legible, so we do not add one. If you would like one, say so with the order and the painter will paint it at the lower right.<\/p>\n

Does it work as a gift?<\/h4>\n

It does, and in the smaller sizes especially; if you are unsure about the size there is a gift voucher<\/a> \u2014 the recipient then picks both subject and size.<\/p>\n

Title:<\/td>\nFruit Trees<\/td>\n<\/tr>\n
Painter:<\/td>\nClaude Monet<\/td>\n<\/tr>\n
The original:<\/td>\nnot securely identified<\/td>\n<\/tr>\n
Our reproduction:<\/td>\nHand-painted oil on canvas, twelve sizes or made to measure<\/td>\n<\/tr>\n<\/tbody>\n