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Poplars, Eragny, 1895 by Camille Jacob Pissarro
Canvas Print - 10303-PIC

Location: Metropolitan Museum of Art, New York, USA
Original Size: 92.7 × 64.8 cm

Poplars, Eragny by Pissarro (1895) 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 51.2 × 36.1 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.

Poplars, Eragny by Camille Jacob Pissarro, 1895 - canvas print
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Giclée Canvas Print | $66.13 USD

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SKU:10303-PIC
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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
51.2″ × 36.1″
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 21.7 × 15.3 in print therefore arrives as 24 × 17.6 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 51.2 × 36.1 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 Pissarro'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 92.7 × 64.8 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 Metropolitan Museum of Art, New York, USA. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Camille Pissarro’s “Poplars, Éragny” is a painting that doesn’t demand your attention - it asks politely for a moment, then before you know it, you’re lost in it. At first glance, it’s easy to dismiss as yet another serene pastoral scene. But look again. Pissarro isn’t just showing you trees; he’s showing you how to see.

The trees are rendered with an almost neurotic precision, each leaf a dot, each blade of grass a tiny flicker of the brush. It’s controlled chaos, but not in a loud way. The Pointillist technique is there, sure, but it’s softer, more diffused. The light trickles in like it does on a lazy afternoon, dappling the ground in flashes of yellow-green. It’s as if the landscape is moving, ever so slowly, in and out of focus.

And then there’s that little figure - almost an afterthought, tucked away, barely noticeable. Pissarro couldn’t care less about them; it’s the trees that matter. Nature swallows up the human presence, shrinking it down to a near speck. He’s not being sentimental about it, though. There’s no heroism in this landscape, no grand gestures. Just a quiet observation of how small we really are against the vastness of the natural world.

The composition is deceptively simple. The eye moves up from the brushy undergrowth to the lofty poplars, soaring towards the sky, which hangs overhead like a pale, soft blanket. The colors are restrained, natural - greens, browns, soft blues - but Pissarro’s mastery is in his subtle variations. There’s a pulse to this work, a quiet energy simmering beneath the surface. It’s a painting that’s not about spectacle but about attention, about the patience to really see what’s there.

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