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Pasture in Normandy, 1880s by Eugène Boudin
Canvas Print - 18310-EBU

Location: Denver Art Museum, USA
Original Size: 31.7 × 45 cm

Pasture in Normandy by Eugène Boudin (1880s) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 21.1 × 29.9 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Pasture in Normandy by Eugène Boudin, 1880s - canvas print
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Giclée Canvas Print | $61.58 USD

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SKU:18310-EBU
Print format
Print/Image Size
Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
21.1″ × 29.9″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 12.5 × 17.7 in print therefore arrives as 14.8 × 20.1 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 21.1 × 29.9 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Eugène Boudin's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 31.7 × 45 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Denver Art Museum, USA. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Eugène Boudin’s “Pasture in Normandy” is the sort of painting you might walk past without much thought, but it would be a mistake to dismiss it. What looks like a peaceful scene of cows in a meadow is actually a slow, quiet meditation on time and space. Boudin wasn’t interested in romanticizing the landscape or glorifying the life of farmers. No, what he gives us here is something far more nuanced – a painting that’s all about "presence". The cows are there, sure, but they feel almost like placeholders, as though they’re simply there to witness the slow march of the clouds overhead.

Look at the way Boudin handles the sky. The clouds hang low, almost sagging, heavy but not threatening. The way they spread across the canvas gives the painting an incredible sense of openness – it’s vast, almost limitless, yet also intimate. The grass is vibrant, yes, but not overly idealized. The green isn’t a fantasy; it’s an observation. It’s broken by patches of ochre, and even the shadows have hints of blue. You get the sense that Boudin wasn’t interested in nature as beauty but as something more indifferent, more complex.

The technique is loose, almost casual. The cows are rendered with such ease that they feel barely there, as though they could dissolve into the landscape at any moment. Yet, they anchor the painting, their bulk offsetting the expansiveness of the sky. And the composition? It’s almost indifferent to you as a viewer. The horizon line isn’t perfectly measured, the positioning of the cows isn’t symmetrical – it’s all slightly off, but that’s exactly what makes it feel true. This isn’t a staged scene; it’s just life, unhurried and unapologetic.

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