The Houses of Parliament, Sunset, 1903 Claude Monet (1840-1926)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Claude Monet also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Houses of Parliament, Sunset is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In this nearly square scene, The Houses of Parliament appear as a tranquil silhouette against a sky infused with shimmering pinks, peaches, and hints of lavender. A soft haze envelops the horizon, suggesting the gentle meeting of sunlit clouds and the sturdy outlines of the buildings. Their varied spires are anchored by vertical brushstrokes of cool blues, creating a rhythmic progression that draws the eye from right to left. Below, the Thames reflects these tonal subtleties, its surface brushed with short horizontal strokes that alternate between traces of azure and the apricot glow of a setting sun. A slender mark of olive-green near the center indicates a solitary boat and its passenger - a single, understated presence amid this grand architectural silhouette.

The color palette is carefully balanced, dominated by pastel hues that intermingle without abrupt transitions. The eye is guided from the dusk-tinged sky to the spectral forms of Parliament and then gently downward into the dappled river. By weaving pink, orange, and purple notes across the sky - and allowing them to echo in the water - the painting suggests the mutable nature of light at day's end. This fluidity is a hallmark of Impressionist practice, capturing not only what is seen, but how it is perceived as time, temperature, and atmosphere shift.

The technique deployed here reveals both controlled and gestural brushwork. In the sky, gentle, intermingling strokes create an ethereal backdrop, while the buildings are expressed in confident, upright lines that contrast with the horizontal patterning in the water. The modest yet palpable texture on the canvas offers glimpses into the artist’s evolving methods - carefully layered passages, applied with a nuanced sensitivity to color. Neither overly blended nor chaotically executed, the strokes achieve a careful equilibrium between structure and the painterly dissolution of form.

Compositional balance is achieved through the nearly symmetrical distribution of the large Parliament mass on the left and the open expanse of sky and water on the right. The boat rests near the center, offering a diminutive yet crucial point of human presence amid the architectural grandeur. Created during the early 1900s, this painting stands as part of a wider series in which the artist examined London’s changing atmospheres. Through repetition of motif and shifting color registers, the work underscores how momentary alterations in light can transform even the most familiar landmarks into a series of fleeting impressions.