{"id":82590,"date":"2021-09-02T17:52:34","date_gmt":"2021-09-02T15:52:34","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/poplars\/"},"modified":"2026-08-30T08:45:53","modified_gmt":"2026-08-30T06:45:53","slug":"poplars","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/claude-monet\/poplars\/","title":{"rendered":"Claude Monet \u2013 Poplars"},"content":{"rendered":"
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Poplars is a hand-painted oil reproduction of a row-of-trees motif by Monet: four slender trunks rise the whole height of the square canvas, and a broad dark blue-violet band of crowns runs across the middle.<\/p>\n

Poplars \u2013 Claude Monet<\/h2>\n

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

The canvas is square. Four very slender trunks<\/strong> rise the whole height, spaced
\nalmost evenly; they are painted as narrow dark violet-brown lines with bluish tufts of foliage
\nclinging to them. The sky behind is a pale blue-green and is not smooth \u2014 it is set down in
\nshort, visible strokes. At the left in the background stands a mass of golden-yellow autumn
\nfoliage of lower trees. Across the lower half runs a broad diagonal band of dark blue and
\nviolet strokes<\/strong>: it is the same row of trees, falling back to the right in the distance
\nand breaking up close to into a mass of colour. Below that band is the water, pale blue-green,
\nwith yellow and orange reflections; the trunks continue down into it as vertical lines. At the
\nbottom centre stands a small green bush.<\/p>\n

Two scales in one picture<\/h3>\n

The scene shows the same row twice and at two scales at once: the four trunks in front are
\nindividual, measurable, almost architectural, while the same run of trees behind is only a band
\nof colour with no separate forms. That is exactly why the work reads deeper than a square would
\nlead you to expect \u2014 distance is carried by the difference between drawing and mass, not by
\nperspective. The sky is not a backdrop but an equal surface: it is painted at the same density of
\nstroke as the foliage, so the trunks do not detach from it but stand in it. This oil on canvas
\nreproduction is therefore also an exercise in the balance of warm and cool \u2014 golden yellow at the
\nleft, blue-violet across the middle, pale green above.<\/p>\n

The subject among Monet\u2019s works \u2014 and what is not established about this original<\/h3>\n

The same motif upright and from another distance is
\nA Row of Poplars<\/a>. Trees at the
\nwater as a group are in The Willows<\/a>,
\nthe single tree in Weeping Willow<\/a>.
\nWhen the water takes the leading part and the trees remain only as reflection, the result is
\nMorning on the Seine, near Giverny<\/a>.<\/p>\n

What we deliberately do not state here:<\/strong> Monet painted this motif in more than
\none version, so which of them is the original behind this particular reproduction is not
\nestablished. You will therefore find no year of execution, no collection name and no accession
\nnumber on this page. We say what is visible on the canvas and nothing beyond it.<\/p>\n

How it works on the wall<\/h3>\n

The format is square, which is uncommon in a subject of trees and makes placing it easier: a
\nsquare does not ask for a wide wall but for a centre. Eight square sizes are offered. 60 x 60 cm
\nand 70 x 70 cm suit a hallway, a staircase or a narrow wall between two doors. 82 x 82 cm
\nis the closest to the original<\/strong> and is therefore the most faithful choice. 90 x 90 cm and
\n100 x 100 cm are the usual choices above a sideboard or beside a dining table. 120 x 120 cm,
\n150 x 150 cm and 180 x 180 cm are meant for large walls, where the verticals are given their true
\nheight. Because the blue and the gold are strong, hand-painted canvas art of this kind takes a
\ncoloured wall too, but does best on white or sand.<\/p>\n

Hand-painted, not printed<\/h3>\n

This fine art reproduction is made with a brush, not a printer. A print lays the colour in an
\nevenly thin film, so sky, trunks and reflections come out equally smooth. Applied by hand, the
\nblue band of crowns is put on thickly and with movement, while the sky is set in thinner, quieter
\nstrokes. Light is returned differently by those two surfaces, so the band of crowns changes more
\nthan the sky as you walk past \u2014 a print cannot do that, because there everything is the same
\nthickness. Because it is handwork, every copy differs a little.<\/p>\n

Custom sizes, frame, and the view on your own wall<\/h3>\n

If none of the eight sizes suits your room, we paint to the size you set yourself, keeping the
\nratio of the sides so the trunks stay slender. A 3D application is available for the frame \u2014
\nit is for frame selection only<\/strong> and does not place the work in your room. If you
\nwant to see how it will look on your own wall, that is the separate visualisation service. The
\ntwo do not overlap, so we do not mix them.<\/p>\n

Ordering, lead time and approval before dispatch<\/h3>\n

The work is painted to order, so the lead time is 15 to 45 days<\/strong>, depending on
\nthe size chosen and how busy the studio is. Before anything is sent we send you a photograph of
\nthe finished piece for approval; only once you confirm do we stretch the canvas on a wooden frame
\nand prepare it for hanging. As wall decor it hangs best at eye level, because that is when a
\nsquare is quietest. The whole range, including further reproductions on canvas and famous
\npaintings on canvas, is in the
\nClaude Monet gallery<\/a>.<\/p>\n

Original size:<\/td>\n81.6 cm x 81.9 cm<\/td>\n<\/tr>\n
Painting style:<\/td>\nImpressionism<\/td>\n<\/tr>\n
Original technique:<\/td>\nOil on canvas<\/td>\n<\/tr>\n<\/tbody>\n