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The Boat (Claude Monet, with Madame Monet, Working on His Boat in Argenteuil), 1874 by Édouard Manet
Canvas Print - 13640-MED

Location: Neue Pinakothek, Munich, Germany
Original Size: 82.5 × 100.5 cm

This painting by Manet (1874) 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 39.1 × 47.2 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.

The Boat (Claude Monet, with Madame Monet, Working on His Boat in Argenteuil) by Édouard Manet, 1874 - canvas print
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Giclée Canvas Print | $78.16 USD

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SKU:13640-MED
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
39.1″ × 47.2″
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 17.9 × 21.7 in print therefore arrives as 20.3 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 39.1 × 47.2 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 Manet'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 82.5 × 100.5 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 Neue Pinakothek, Munich, Germany. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

The Impressionists, who had admired Manet's art since 1863, finally met him in 1866. In 1874, when they held their first independent exhibition separate from the Salon, Manet embraced their painting style after getting acquainted with them during their regular gatherings at the Cafe Guerbois on Thursday evenings.

"The Barge", a work that remained unfinished due to the extensive duration of Manet's sessions, depicts Claude Monet in his studio floating on the Seine at Argenteuil. In the summer of 1874, Manet, accompanied by his family, spent time on the other side of the river in Gennevilliers, where he collaborated with Pierre-Auguste Renoir (1841-1919) on their paintings. This period marked a departure from Manet's previous use of darker colors and distinct outlines as he embraced an Impressionistic approach to his art. However, despite this transition, Manet still retained elements of his dark color palette, which are noticeable in the somber character of the boat.

In Manet's work, the central focus is always a person, as seen in this case with Monet and Camille. Unlike Monet, who often painted landscapes for their own sake, Manet never created a landscape as the primary subject. The flat, dark backgrounds that he employed in some of his earlier works were intentionally designed to complement the figures rather than being mere absences of detail. They were always conceived as integral parts of the overall composition.

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