{"id":83534,"date":"2021-09-02T18:02:24","date_gmt":"2021-09-02T16:02:24","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/view-of-vetheuil\/"},"modified":"2026-08-30T15:58:04","modified_gmt":"2026-08-30T13:58:04","slug":"view-of-vetheuil","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/claude-monet\/view-of-vetheuil\/","title":{"rendered":"Claude Monet \u2013 View of V\u00e9theuil"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]\n\n\n\n\n\n\n<\/colgroup>\n<\/table>\n

View of V\u00e9theuil is a hand-painted oil reproduction of a motif by Monet: the village with its tall spire sits in a hollow below the slope we look from, and a dry yellow field falls steeply away on the right.<\/p>\n

View of V\u00e9theuil \u2013 Claude Monet<\/h2>\n

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

The canvas is landscape, and we look from above, down the slope. At the lower right
\na steep dry field in ochre yellow<\/strong> falls away on the diagonal; low dark green bushes
\nand fine red-orange flecks are scattered over it. A dense mass of dark green trees stands along the
\nright edge. Left of centre and lower down lies the village \u2014 white and grey houses with blue roofs,
\npressed into the hollow. Above them rises a grey-blue church with a tall pointed
\nspire<\/strong>, the highest thing on the canvas. Behind the village and to the left a pale chalk
\nslope climbs to a ridge, striped in cream, white and green; a path runs along the ridge and a few
\nsmall dark trees stand on the skyline. In the distance to the right, low blue-grey hills line up.
\nThe upper third is a pale grey-blue sky, painted in long slanting strokes that fall to the right.<\/p>\n

Everything runs on the same diagonal, except the village<\/h3>\n

Sky, chalk slope and dry field are painted with the same long slanting stroke, so the whole thing
\nleans one way. Only the village at the centre is painted differently: in short upright patches,
\nblock on block. That makes the village the one thing here standing still, and the eye that slides
\ndown the slope stops exactly at the spire. This oil on canvas reproduction is therefore ordered by
\nthe rhythm of the brushstroke rather than by perspective \u2014 depth comes only from the size of the
\nhouses and from the hills fading into the distance.<\/p>\n

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

The same village in winter is
\nSnow Effect at V\u00e9theuil<\/a>,
\nthe river below it
\nBanks of the Seine at V\u00e9theuil<\/a>.
\nWater and morning light return later in
\nMorning on the Seine, Giverny<\/a>,
\nand the open country with no settlement in
\nMeadow at 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 landscape, in a ratio of about 13 : 10, and takes a slightly higher hanging than
\nusual, because we are looking downwards and the view itself falls towards the village. 50 x 40 cm
\nand 60 x 50 cm suit a hallway or a narrow wall. 70 x 55 cm is still a small size, but the spire
\nalready stands clear. 80 x 62 cm is both the original size and an offered size<\/strong>, and
\nis therefore the most faithful choice on the ladder. 90 x 70 cm and 100 x 80 cm are balanced above a
\nsideboard or a sofa. 120 x 90 cm and 150 x 120 cm are meant for large walls, where the individual
\nstrokes in the field come apart from one another. Because the upper half is light and cool,
\nhand-painted canvas art of this kind will carry a wall in a warm tone as well; a dark wall takes its
\nsky away.<\/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 field and village come out equally smooth. Applied by hand the dry field is
\npainted in hundreds of long dragged strokes standing above the canvas, while the village is fine
\nflat dabs. Light is returned differently by those two surfaces, so the field moves as you walk past
\nwhile the village stays quiet \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 slope is no steeper or gentler than in the original. A 3D application is
\navailable for the frame \u2014 it is for frame selection only<\/strong> and does not place the work
\nin your room. If you want to see how it will look on your own wall, that is the separate
\nvisualisation service. The two 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 the
\nsize chosen and how busy the studio is. Before anything is sent we send you a photograph of the
\nfinished piece for approval; only once you confirm do we stretch the canvas on a wooden frame and
\nprepare it for hanging. As wall decor it is often hung in a living room or a dining room, where it
\nis looked at from across the room. The whole range, including further reproductions on canvas and
\nfamous paintings on canvas in museum-quality reproduction, is in the
\nClaude Monet gallery<\/a>.<\/p>\n

\nOriginal size:<\/td>\n\n80 cm x 62 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<\/tbody>\n