In 1888, Claude Monet set out on a bold experiment along the banks of the Epte near his home in Giverny: he painted the same row of poplars at different hours and seasons, sometimes even from a floating studio. Poplars at Giverny, Sunrise is one of these studies, part of a series that would later become famous for its obsessive attention to changing light and atmosphere. Monet’s dedication was so complete that, when the local council planned to cut down the poplars for timber before he had finished, he paid to have them left standing.

This act of preservation was not just about trees, but about capturing fleeting moments that would otherwise vanish forever. The painting immerses us in the early morning hush, as mist and sunlight mingle above the river. Tall poplars, their trunks reflected in the still water, rise in gentle rhythm across the canvas, their forms softened by the cool dawn. Monet’s brushwork is loose and quick, suggesting the trembling of leaves and the shimmer of light rather than describing them in detail.

The palette is delicate: blues, pinks, and fresh greens conjure the sensation of daybreak. Unlike the precise realism of Jean-Baptiste-Camille Corot’s landscapes, Monet’s approach dissolves solid forms into pure sensation, inviting the viewer to experience the scene as he did—moment by moment. The exact medium of Poplars at Giverny, Sunrise is not always recorded, but like most of Monet’s works from this period, it was likely painted in oil on canvas, en plein air. Many of the poplar paintings remained with Monet until his death, though some were quickly acquired by collectors who recognized their innovation.

Today, works from this series are scattered in museums and private collections worldwide, testament to their enduring appeal. This painting marks a turning point in Monet’s career, as he moved from capturing places to capturing the passage of time itself—a pursuit that would culminate in his celebrated Water Lilies.