{"title":"Henri Rousseau","description":"\u003cp\u003eHenri Rousseau (1844–1910) was a Paris customs officer who painted in his free time, never left France, and is now in every museum that can afford him. The jungles he is famous for were assembled from the hothouses of the Jardin des Plantes, an illustrated book of wild animals and the magazines of the day. He was laughed at for twenty years and then taken seriously by the people who mattered next — Picasso, Delaunay, Kandinsky.\u003c\/p\u003e\n\n\u003cp\u003eWe print five of his canvases. Three are jungles, one is a wood outside Paris with a couple kissing in it, and one is the suburb he knew by walking. That last one is here on purpose: hang it beside a jungle and the jungles stop looking naïve. The hand is identical in both — flat layers, no aerial perspective, every leaf and every shutter drawn separately — and it turns out that the man who painted an impossible tiger painted a real lock-gate exactly the same way.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is here\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Equatorial Jungle\u003c\/em\u003e, 1909, and \u003cem\u003eRendezvous in the Forest\u003c\/em\u003e, 1889, and \u003cem\u003eTropical Forest with Monkeys\u003c\/em\u003e, 1910 — all three from the National Gallery of Art in Washington. \u003cem\u003eFight Between a Tiger and a Buffalo\u003c\/em\u003e, 1908, and \u003cem\u003eOutskirts of Paris\u003c\/em\u003e, c. 1897–1905 — both from the Cleveland Museum of Art. Every one of them is printed whole: not one of the five needed a crop, because Rousseau painted to all four edges and both museums photographed the canvases edge to edge.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is not here, and why\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe famous ones we do not have are missing for one reason only, and it is not copyright — Rousseau has been in the public domain everywhere we ship since 1981. \u003cem\u003eThe Dream\u003c\/em\u003e and \u003cem\u003eThe Sleeping Gypsy\u003c\/em\u003e are at the Museum of Modern Art, \u003cem\u003eSurprised!\u003c\/em\u003e at the National Gallery in London, \u003cem\u003eCarnival Evening\u003c\/em\u003e in Philadelphia, and \u003cem\u003eThe Waterfall\u003c\/em\u003e at the Art Institute of Chicago. None of those museums publishes a file we are allowed to print from commercially. The Metropolitan's \u003cem\u003eRepast of the Lion\u003c\/em\u003e is free to use but digitised at 3,811 pixels, which carries 32 cm at our 300 dpi floor — not enough for a sheet. We would rather say so than sell you an upscale.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSizes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe five range from 0.22× the original to 1.11×, and every product page says which. Rousseau's canvases run from 38 cm to 1.9 metres across, so a single house format would have been a lie about four of them. The format follows the source, as everywhere in this shop.\u003c\/p\u003e","products":[{"product_id":"rousseau-equatorial-jungle-giclee-print","title":"Henri Rousseau – The Equatorial Jungle, 1909 | Giclée Print","description":"\u003cp\u003eA wall of leaves, painted leaf by leaf. Two small apes look out from the middle of it and a third hangs above; three pink blossoms and one white spike are the only breaks in the green. Measured pixel by pixel this is the greenest sheet in the shop — ninety-five per cent of the canvas carries colour, and nine tenths of that colour is green.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eRousseau never saw a jungle.\u003c\/strong\u003e He was a Paris customs officer who painted in his spare time and did not leave France. The plants come from the hothouses of the Jardin des Plantes, from illustrated magazines and from a picture book of exotic animals; the scale is invented, the botany is impossible, and the light belongs to no continent. He was mocked for it in his lifetime and then taken seriously by the people who mattered next — this canvas went from the artist straight to Robert Delaunay.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy it works as a wall.\u003c\/strong\u003e There is no horizon, no vanishing point and no single subject. The picture is built in flat layers, the way a stage set is, and it reads at any distance: from across the room it is a green field, up close it is several hundred individually drawn leaves. That combination is rare, and it is why the picture holds a large sheet.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the National Gallery of Art's own open-access photograph of the canvas. It is not a twentieth-century painting and is not sold as one.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 129.5 × 140.6 cm \/ 51 × 55.4 in — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.30× original. Image 38.57 × 42.00 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.42× original. Image 54.00 × 58.80 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOn the file.\u003c\/strong\u003e Washington's photograph of this canvas runs 23,548 × 25,646 pixels — the largest source in the catalogue by a wide margin. At our 300 dpi floor it would carry a print two metres wide. The sheet is the limit here, not the picture: on the 70 × 70 the print still has more than a thousand dots per inch available to it, and we use three hundred of them.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nHenri Rousseau (French, 1844–1910), \u003cem\u003eThe Equatorial Jungle\u003c\/em\u003e, 1909. Signed lower right: Henri Julien Rousseau \/ 1909.\u003cbr\u003e\nOil on canvas; 140.6 × 129.5 cm.\u003cbr\u003e\nNational Gallery of Art, Washington, Chester Dale Collection, acc. no. 1963.10.213.\u003cbr\u003e\nFrom the artist to Robert Delaunay, Paris; Ambroise Vollard, Paris; sold 1925 to Juliana Force, returned to Vollard the same year; Galerie Étienne Bignou, Paris; sold 1928 to Chester Dale, New York; bequest to the National Gallery in 1963.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under its Open Access policy.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.30× original","offer_id":65776142483805,"sku":"MUS-031-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.42× original","offer_id":65776142516573,"sku":"MUS-031-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-031_Jungle_plate.jpg?v=1788284432"},{"product_id":"henri-rousseau-rendezvous-in-the-forest-1889-giclee-print","title":"Henri Rousseau – Rendezvous in the Forest, 1889 | Giclée Print","description":"\u003cp\u003eA wood of thin trees, drawn branch by branch, and somewhere near the middle of it two people kissing. He is in a tricorne hat and a dark braided coat, she is in a rose gown; a third small figure in green stands a step behind them. You can look at this picture for a while before you find them, and that is the picture.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eHe gave it to his baker.\u003c\/strong\u003e Washington’s provenance file for this canvas opens with a sentence you almost never see in a museum record: a gift from the artist to his baker, Paris, 1889. Rousseau was a customs officer painting in his free time, with no dealer and no money, and pictures went to the people he owed. It surfaced only decades later, when the Paris dealer Bela Hein sold it in 1931 to Marie and Averell Harriman in New York; it came to the National Gallery as their foundation’s gift in 1972.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eAn eighteenth-century subject, hidden.\u003c\/strong\u003e The costumes are not 1889. A tricorne and a wide rose gown put the couple in the world of the fête galante — the amorous meeting in a park that Watteau and his followers painted for a hundred years, always in the clear foreground, always the point of the picture. Rousseau moves them to the back of the wood and lets the trees have the canvas. What survives is the mood of the old subject and none of its manners.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy it holds a wall.\u003c\/strong\u003e Rousseau built this the way he built the jungles twenty years later: flat layers, no aerial perspective, every branch and leaf drawn separately rather than suggested. Because these trees are half bare, you can watch the method with nothing hiding it — a lattice of several thousand strokes with a pale sky and one apricot cloud caught in it. From across a room it reads as a single dark green screen; up close it comes apart into drawing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the National Gallery of Art’s own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 92 × 73 cm — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.45× original. Image 33.02 × 42.00 cm.\u003cbr\u003e \u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — reduced, 0.58× original. Image 42.00 × 53.42 cm.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNo crop.\u003c\/strong\u003e Rousseau painted to all four edges and the museum photographed the canvas edge to edge. We sampled twenty-five rows and columns in from each side of the file and found paint everywhere — never the flat, even studio grey a photographer’s backdrop leaves. So the file is printed whole; nothing has been trimmed and nothing added.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e On the small sheet the height binds at the house 84 %: the image is 42.00 cm tall, leaving 3.49 cm at each side, 3.72 above and 4.28 below. On the large sheet the width binds instead — the canvas is squarer than the paper — so 4.00 cm at the sides, 7.71 above and 8.87 below. Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eResolution.\u003c\/strong\u003e Washington’s file is 21,382 pixels across: 1645 dpi at the small size and 1293 at the large one. Both sheets are printed at our flat 300 dpi, the most that matte fine art paper resolves. At that floor the file would carry an image 181 cm wide. The sheet is the limit here, not the picture.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Henri Rousseau (French, 1844–1910), \u003cem\u003eRendezvous in the Forest\u003c\/em\u003e, 1889. Signed lower right: Henri Rousseau.\u003cbr\u003e Oil on canvas, 92 × 73 cm.\u003cbr\u003e National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, acc. no. 1972.9.20.\u003cbr\u003e A gift from the artist to his baker, Paris, 1889; Bela Hein, Paris; sold June 1931 to Marie N. and W. Averell Harriman, New York; W. Averell Harriman Foundation; gift to the National Gallery of Art, 1972.\u003cbr\u003e Public domain. The museum publishes its photograph under its Open Access policy.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.45× original","offer_id":65815996662109,"sku":"MUS-055-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Reduced, 0.58× original","offer_id":65815996694877,"sku":"MUS-055-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rousseau-rendezvous-plate.jpg?v=1788587921"},{"product_id":"henri-rousseau-tropical-forest-with-monkeys-1910-giclee-print","title":"Henri Rousseau – Tropical Forest with Monkeys, 1910 | Giclée Print","description":"\u003cp\u003eFive monkeys in a wall of leaves. One sits on a branch in the middle, black and silver, holding a white water lily as if it had been handed to him; two orange ones swing from a bough at the top right; a fifth, red-brown and almost human, stands on a rock at the front and looks straight out at you. Across the bottom runs a bank of crimson leaves that grows nowhere on earth.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePainted in the last year of his life.\u003c\/strong\u003e Rousseau signed and dated this canvas 1910 and died on 2 September of that year, aged sixty-six. It belongs to the last handful of jungles — the pictures that had been laughed at for twenty years and were about to be taken seriously by Picasso, Delaunay, Kandinsky and everyone who came after them.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eHe never saw a jungle.\u003c\/strong\u003e Rousseau was a Paris customs officer who painted in his free time and never left France. The plants come from the hothouses of the Jardin des Plantes, the animals from an illustrated picture book of wild beasts. That is why the scale is impossible, the botany invented and the light of no particular continent — and it is also why the picture is composed like a stage set rather than a view.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy it works as a wall.\u003c\/strong\u003e There is no horizon and no vanishing point. The picture is built in flat layers, each leaf drawn separately, so it reads at any distance: from across the room a green field with a red foot and five dark accents; up close several hundred individually painted leaves and the small comedy of the animals. At 162 cm wide it was made to be seen from a distance, and the large sheet keeps that.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the National Gallery of Art’s own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 129.5 × 162.5 cm — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.26× original. Image 42.00 × 33.55 cm.\u003cbr\u003e \u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.39× original. Image 63.09 × 50.40 cm.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNo crop.\u003c\/strong\u003e Rousseau painted to all four edges and the museum photographed the canvas edge to edge. We sampled twenty-five rows and columns in from each side of the file and found paint everywhere — never the flat, even studio grey a photographer’s backdrop leaves. The file is printed whole; nothing trimmed, nothing added.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e On the small sheet the width binds at the house 84 %: the image is 42.00 cm wide, leaving 4.00 cm at each side, 3.00 above and 3.45 below. On the large sheet the height binds instead — the canvas is squarer than the paper — so 8.46 cm at the sides, 4.47 above and 5.13 below. Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eResolution.\u003c\/strong\u003e Washington’s photograph runs 41,655 × 33,278 pixels, the second largest source in this catalogue: 2519 dpi at the small size and 1677 at the large one. Both sheets print at our flat 300 dpi, the most that matte fine art paper resolves. At that floor the file would carry an image 353 cm wide — more than twice the canvas. The sheet is the limit here, not the picture.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Henri Rousseau (French, 1844–1910), \u003cem\u003eTropical Forest with Monkeys\u003c\/em\u003e, 1910. Signed lower right: Henri Rousseau \/ 1910.\u003cbr\u003e Oil on canvas, 129.5 × 162.5 cm.\u003cbr\u003e National Gallery of Art, Washington, John Hay Whitney Collection, acc. no. 1982.76.7.\u003cbr\u003e Paul von Mendelssohn Bartholdy, Berlin; his wife, Elsa Gräfin Kesselstadt, Berlin and later Vaduz; on consignment 1950 with Walter Feilchenfeldt, Switzerland; sold 1950 to John Hay Whitney, Manhasset, New York; deeded 1982 to the John Hay Whitney Charitable Trust; gift to the National Gallery of Art, 1982.\u003cbr\u003e Public domain. The museum publishes its photograph under its Open Access policy.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.26× original","offer_id":65816014291293,"sku":"MUS-056-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.39× original","offer_id":65816014324061,"sku":"MUS-056-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rousseau-tropical-forest-monkeys-plate.jpg?v=1788588028"},{"product_id":"henri-rousseau-fight-between-a-tiger-and-a-buffalo-1908-giclee-print","title":"Henri Rousseau – Fight Between a Tiger and a Buffalo, 1908 | Giclée Print","description":"\u003cp\u003eA tiger has a buffalo by the throat in the middle of a jungle that never existed. Around them: banana clusters hanging like lanterns, orange fruit, a fan of blades, and a wall of green built leaf by leaf up to a strip of pale sky. The two animals are almost the smallest thing in the picture.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRousseau never saw a jungle.\u003c\/strong\u003e He was a Paris customs officer who painted in his free time and never left France. The plants come from the hothouses of the Jardin des Plantes, the animals from an illustrated picture book of wild beasts; the scale is impossible, the botany invented, the light of no particular continent. This is one of the late jungles — 1908, two years before his death — from the run of pictures that had been laughed at for twenty years and were about to be taken seriously by Picasso, Delaunay and everyone after them.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy it works as a wall.\u003c\/strong\u003e There is no horizon and no vanishing point. The picture is built in flat layers, like a stage set, so it reads at any distance: from across the room a dark green field with one orange accident in it; up close several hundred individually drawn leaves and a tiger with yellow eyes. Ninety-nine per cent of the canvas carries colour and seven eighths of that colour is green — the second greenest sheet in this shop, after Rousseau’s own \u003cem\u003eEquatorial Jungle\u003c\/em\u003e.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Cleveland Museum of Art’s own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 170 × 189.5 cm — oil on fabric, Cleveland Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.22× original. Image 42.00 × 37.63 cm.\u003cbr\u003e \u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.31× original. Image 58.80 × 52.68 cm.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNo crop.\u003c\/strong\u003e Rousseau painted to all four edges and the museum photographed the canvas edge to edge. We scanned every column of the top and bottom edges and every row of the sides for a rim of bare canvas: the median is three to five pixels, the worst run half a millimetre on the left. There is no studio backdrop anywhere at the margin. So the file is printed whole; nothing has been trimmed and nothing added.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e The canvas is almost square — 1.116 wide to tall — so on both sheets the width binds at the house 84 %: 4.00 cm at the sides on the small sheet and 5.60 on the large one, with the deeper margins above and below (5.75 and 6.62, then 8.05 and 9.26). Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eResolution.\u003c\/strong\u003e Cleveland scans its paintings as uncompressed TIFF; this one is 12,503 × 11,202 pixels and 420 megabytes. That is 756 dpi at the small size and 540 at the large one, against our flat 300 dpi — the most matte fine art paper resolves. At that floor the file would carry an image 106 cm wide. The sheet is the limit here, not the picture.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Henri Rousseau (French, 1844–1910), \u003cem\u003eFight Between a Tiger and a Buffalo\u003c\/em\u003e, 1908. Signed lower right.\u003cbr\u003e Oil on fabric, 170 × 189.5 cm.\u003cbr\u003e Cleveland Museum of Art, Gift of the Hanna Fund, acc. no. 1949.186.\u003cbr\u003e Public domain. The museum publishes its photograph under Creative Commons Zero.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.22× original","offer_id":65816061772125,"sku":"MUS-057-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.31× original","offer_id":65816061804893,"sku":"MUS-057-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rousseau-tiger-buffalo-plate.jpg?v=1788590102"},{"product_id":"henri-rousseau-outskirts-of-paris-c-1897-1905-giclee-print","title":"Henri Rousseau – Outskirts of Paris, c. 1897–1905 | Giclée Print","description":"\u003cp\u003eA low white house with a red roof and shuttered windows, a road, a lock on the water, a few small figures, and a bank of cloud that takes up half the picture. This is the Paris Rousseau actually saw — the ring of suburbs he walked through on his days off, painted with the same patient, flat, leaf-by-leaf hand he used for the jungles.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe other Rousseau.\u003c\/strong\u003e He is remembered for tigers and hothouse foliage, but a good part of his work is this: canals, factory chimneys, footbridges and quiet streets on the edge of the city, most of them small canvases done for himself. The jungles were invented from the Jardin des Plantes and a picture book. The suburbs he knew by walking. Seen next to them, the jungles stop looking naïve and start looking deliberate — the same brush, the same airless clarity, applied once to a place he had never been and once to a place he passed every week.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy it works as a wall.\u003c\/strong\u003e It is a small picture and it stays small in feeling even enlarged: nothing dramatic, no incident, a road going somewhere ordinary. What carries it is the light — a high grey-white cloud over pale green, the red of the roof, and one figure in a straw hat. It hangs quietly, which is the rarer job.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Cleveland Museum of Art’s own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 37.8 × 45.8 cm — oil on fabric, Cleveland Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.89× original. Image 40.81 × 33.60 cm.\u003cbr\u003e \u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — enlarged, 1.11× original. Image 51.01 × 42.00 cm.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe two sheets bracket the original.\u003c\/strong\u003e The canvas is only 45.8 cm across, so the small sheet prints it a little under its own size and the large sheet a little over — the closest either sheet in our ladder comes to the object. The large one is the only enlargement in our Rousseau line, and at 1.11× it is a modest one: the file still gives 346 dots per inch there, above our floor of 300.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNo crop.\u003c\/strong\u003e Rousseau painted to all four edges and the museum photographed the canvas edge to edge. We read twenty-five rows and columns in from each side: every band carries painted variation, with spreads between 23 and 59, and nowhere the flat even ground a photographer’s backdrop leaves. So the file is printed whole.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e On both sheets the height binds at the house 84 %, so the side margins run wider than the vertical ones: 4.60 cm at the sides on the small sheet against 2.98 above and 3.42 below, and 9.50 cm at the sides on the large one against 3.72 and 4.28. Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Henri Rousseau (French, 1844–1910), \u003cem\u003eOutskirts of Paris\u003c\/em\u003e, c. 1897–1905. Signed lower right.\u003cbr\u003e Oil on fabric, 37.8 × 45.8 cm.\u003cbr\u003e Cleveland Museum of Art, Purchase from the J. H. Wade Fund, acc. no. 1929.951.\u003cbr\u003e Public domain. The museum publishes its photograph under Creative Commons Zero.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.89× original","offer_id":65816123081053,"sku":"MUS-058-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.11× original","offer_id":65816123113821,"sku":"MUS-058-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rousseau-outskirts-paris-plate.jpg?v=1788591431"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/collections\/museartis-rousseau-tiger-buffalo-plate.jpg?v=1788591564","url":"https:\/\/museartis.com\/collections\/henri-rousseau.oembed","provider":"Museartis","version":"1.0","type":"link"}