Claude Monet
Argenteuil Basin with a Single Sailboat
From $100
The whole picture is made of steam, smoke and light, and a muddy copy turns it into fog. Our Monet Gare Saint Lazare print was graded against the Art Institute of Chicago’s own photograph, so the steam stays blue and white, the iron roof stays sharp and the daylight still pours through the glass.
Canvas, framed or paper
Stretched canvas. Printed on cotton canvas and stretched taut over a frame. The edges are mirror-wrapped, so the picture continues around the sides and none of it is lost to the fold.
Framed canvas. The same canvas, set in a black, white, natural wood or dark wood frame 0.83 in deep. The frame gives the work a finished edge and a little more presence on the wall.
Framed print. Printed on fine art matte paper and framed in solid pine, behind shatterproof plexiglass, in black, white, natural wood or dark wood. It arrives ready to hang. Framed sizes are measured on the outside of the frame.
Fine art print. Printed on 310gsm fine art matte paper, for framing your own way. It travels rolled and protected. From 18x24 inch.
Sizes
16x12 inch, 20x16 inch, 24x18 inch, 30x24 inch. Framed sizes are measured on the outside of the frame, so the visible painting is a little smaller.
On your wall
Its strong blues and smoky greys suit a study, a hallway or a modern living room. It looks striking with charcoal, white and steel, and a black frame sharpens the iron of the roof.
About the painting
Arrival of the Normandy Train, Gare Saint-Lazare by Claude Monet
Paris, 1877
The Gare Saint-Lazare was the Paris station for trains to Normandy, where Monet had learned to paint outdoors. In 1877 he set up his easel inside the station itself.
Steam under glass
He painted the great iron-and-glass train shed again and again: the steam from the engines trapped under the roof, and the light coming down through it. He finished eight of his twelve station views in time for the third Impressionist exhibition that spring.
His last city picture
The station pictures began his habit of painting one subject in changing light, which led to the Stacks of Wheat. They were also his last paintings of city life. This one belonged first to Ernest Hoschedé, and came to the Art Institute of Chicago in 1933.
Read the story
Claude Monet had painted rivers, fields and beaches. In 1877, he took his easel into a railway station.
The Gare Saint-Lazare in Paris was where the trains left for Normandy, the coast where he'd learned to paint outdoors.
He didn't paint the passengers or the ticket hall. He looked up, at the great roof of iron and glass over the tracks.
A train from Normandy is pulling in. Its steam rises and is trapped under the roof, in clouds of blue and white, while daylight pours down through the glass.
He painted the station again and again. Eight of the twelve pictures were ready for the third Impressionist exhibition, that spring.
It was the start of a habit. One subject, painted many times as the light changed, which one day led him to the stacks of wheat at Giverny.
It was also an ending. These were his last paintings of the city. After this, he turned almost entirely to the countryside.
The first owner of this one was Ernest Hoschedé, whose wife Alice would one day marry Monet. It belongs today to the Art Institute of Chicago.
Stand on the platform with him, and watch the steam fill up the light.
Arrival of the Normandy Train, Gare Saint-Lazare. Claude Monet, 1877.
How each piece is brought to life
Faithful to the original, and made to be felt on your wall.
Graded against the original
We compare every work with the original as we grade it, keeping the artist’s colours true while bringing back their depth and glow. Every mark stays the artist’s own.
Printed for you
Printed to order on cotton canvas or fine art paper, then framed if you chose a frame, in 1 to 3 business days.
On your wall
It arrives 5 to 12 business days later, tracked and free anywhere in the US. Framed pieces come ready to hang.
Questions
Is this the original painting?
No. The original hangs in a museum. What you receive is a fine art reproduction, remastered from the original and printed for you, with every mark where the artist left it.
Will the colour look flat?
This is where most reproductions disappoint, and it is where we spend the most time. Each work is graded side by side with the original: faithful to the artist’s colours, with the depth and warmth brought back, so it moves you on the wall the way it was meant to. Canvas reads a touch softer than a backlit screen, and every screen shows colour a little differently.
Will the edges be cropped?
Each size is a standard frame size, so we fit the painting by trimming a little from its edges. We never stretch or squash it, and we check every size by eye so no face, figure or signature is cut. On canvas the edges are mirror-wrapped, which keeps the whole picture on the front.
Which size is right for my wall?
Aim for about two-thirds the width of the furniture beneath it. Over a sofa or a sideboard, one of the two largest sizes will hold the wall. The size guide lists every size in inches and centimetres, with the kind of wall each one suits.
How long does it take?
Your piece is printed in 1–3 business days, then spends 5–12 business days in transit, tracked all the way. Delivery is free anywhere in the US. We are unable to deliver to PO boxes.
What if it arrives damaged?
Send us a photograph and we will remake it and send it again. There is nothing to return.
Can I return it?
Yes, within 30 days of delivery. Our returns policy has the details.
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Printed to order
Graded against the original, then printed for you on cotton canvas or fine art paper in 1–3 business days.
The whole painting
Every mark is the artist’s own, and canvas edges are mirror-wrapped so the whole picture stays on the front.
Free US shipping
On every order, tracked, 5–12 business days in transit.
30-day returns
Returns and exchanges within 30 days of delivery.
