{"title":"Paintings","description":"\u003cp\u003eCanvases, reproduced whole. A painting cannot be printed at 1:1 the way a sheet of paper can — a metre and a half of canvas will not go on a wall at home — so each listing names the scale plainly, and the reduction is chosen so the brushwork still reads at arm's length.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe reduction is on the label.\u003c\/strong\u003e Every size here says what fraction of the original it is: 0.30×, 0.42×, 0.21×. Nowhere else in the shop do we hide behind “large” and “extra large”, and we do not do it here either. If you want to know how much of Rousseau's jungle you are getting, the answer is on the button before you click it.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe paper is usually the limit, not the file.\u003c\/strong\u003e Washington's photograph of Rousseau's \u003cem\u003eEquatorial Jungle\u003c\/em\u003e runs to 23,548 pixels — enough for a print two metres wide at full resolution. We print it at 54 cm, because that is what fits on a sheet you can hang. Van Gogh's \u003cem\u003ePoet's Garden\u003c\/em\u003e would carry 107 cm; it stops at 63.8. There is no virtue in a number nobody can put on a wall.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eExcept when it isn't.\u003c\/strong\u003e Monet's late \u003cem\u003eIrises\u003c\/em\u003e — two metres square, painted at Giverny when he could barely see — comes to us at 5,407 pixels, which is 45.8 cm of honest print and no more. So that work is offered in one size and there is no large square. Blechen's \u003cem\u003ePalm House\u003c\/em\u003e ran out one step earlier still: on the big sheet the picture had to shrink and the white border grow, wider than anywhere else in the catalogue. The border gives way before the resolution does.\u003c\/p\u003e\n\n\u003cp\u003eFiles come from the museums themselves — the Art Institute of Chicago and the National Gallery of Art in Washington, both open access — not from stock libraries. Each listing names the collection and the accession number, the canvas size, and the resolution the file actually delivers, which is not always the number in the catalogue record.\u003c\/p\u003e\n\n\u003cp\u003eGiclée prints, twelve pigment inks on 200 gsm FSC-certified fine art paper, generous white border, ready to frame or mat. Unframed, shipped rolled in a tube.\u003c\/p\u003e","products":[{"product_id":"munch-starry-night-giclee-print","title":"Edvard Munch – Starry Night, 1893 | Giclée Print","description":"\u003cp\u003eIn the summer of 1893 Edvard Munch was painting at Åsgårdstrand, the small beach resort south of Oslo where he spent his summers from the 1880s onward. \u003cem\u003eStarry Night\u003c\/em\u003e is that coastline after dark. The abstract mound at the right is a clump of linden trees; a white fence runs diagonally in front of it; the shoreline is drawn with a single undulating line that continues up into the branches. Stars reflect in the water, and a flash of light shines out of the trees.\u003c\/p\u003e\n\n\u003cp\u003eThe picture was painted in the same year as the first version of \u003cem\u003eThe Scream\u003c\/em\u003e, and it shows the other half of the same ambition. Munch was after the emotion the night calls up rather than its picturesque qualities, and the blue carries it. The vaguely defined shape on the fence may be the shadow of two lovers — a motif that recurs throughout his work. Some passages are laid on thickly, others left almost bare, so that the lighter ground comes through the weave of the canvas.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Getty Museum's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 135.9 × 140.3 cm \/ 53.5 × 55.2 in — oil on canvas, The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.42× original. Image 58.80 × 57.06 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.30× original. Image 42.00 × 40.76 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy there is no original size here.\u003c\/strong\u003e Everywhere else in this shop the first size is the size of the object in the museum — a woodblock sheet, a drawing, a photogram. A canvas of one metre forty is a different case: no one hangs a painting at 1:1 in a rented flat, and we do not have paper that wide. So both sheets are reductions, and we say by how much rather than leaving you to guess. The proportion is the canvas's own, near-square, which is why both sheets are square instead of forcing the picture into a rectangle.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas is reproduced whole, edge to edge. Nothing is cropped.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nEdvard Munch (Norwegian, 1863–1944), \u003cem\u003eStarry Night\u003c\/em\u003e, 1893; oil on canvas, 135.9 × 140.3 cm.\u003cbr\u003e\nThe J. Paul Getty Museum, Los Angeles, Acc. No. 84.PA.681.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0 through the Getty Open Content Program.\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":65763567075677,"sku":"MUS-022-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.42× original","offer_id":65763567108445,"sku":"MUS-022-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-022_StarryNight_plate.jpg?v=1788251489"},{"product_id":"monet-water-lilies-giclee-print","title":"Claude Monet – Water Lilies, 1906 | Giclée Print","description":"\u003cp\u003eBy 1906 Monet had been painting the water garden at Giverny for a decade, and he had taken away almost everything a landscape usually gives you. There is no bank, no horizon, no sky except as reflection. The canvas is the surface of the pond seen from above, with the lily pads laid across it in bands and the sky and willows arriving from underneath. A shadow falls across the upper third — the trees on the far side, present only as darkness on the water.\u003c\/p\u003e\n\n\u003cp\u003eThis canvas belongs to the group Monet showed at Durand-Ruel in 1909 under the title \u003cem\u003eLes Nymphéas, série de paysages d'eau\u003c\/em\u003e. He had been working on them for years and repeatedly refused to release them. What he was after was not the pond but the light on it at one hour, and the difficulty was that the hour kept moving.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 89.9 × 94.1 cm \/ 35.4 × 37.0 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.62× original. Image 58.80 × 56.48 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.45× original. Image 42.00 × 40.34 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy there is no original size here.\u003c\/strong\u003e Everywhere else in this shop the first size is the size of the object in the museum — a woodblock sheet, a drawing, a photogram. A canvas is a different case: we do not have paper that wide, and a painting is not a sheet. So both sizes are reductions, and we say by how much rather than leaving you to guess. The canvas is very nearly square, which is why both sheets are square instead of forcing the picture into a rectangle.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas is reproduced whole, edge to edge. Nothing is cropped.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nClaude Monet (French, 1840–1926), \u003cem\u003eWater Lilies\u003c\/em\u003e, 1906; oil on canvas, 89.9 × 94.1 cm.\u003cbr\u003e\nArt Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection, Acc. No. 1933.1157.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0.\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, 0.45× original","offer_id":65770165961053,"sku":"MUS-023-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.62× original","offer_id":65770165993821,"sku":"MUS-023-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-023_WaterLilies_plate.jpg?v=1788264726"},{"product_id":"van-gogh-irises-giclee-print","title":"Vincent van Gogh – Irises, 1889 | Giclée Print","description":"\u003cp\u003eVan Gogh painted this in the first week after he admitted himself to the asylum at Saint-Paul-de-Mausole, outside Saint-Rémy-de-Provence, in May 1889. He was not yet allowed beyond the walls, so he painted what was inside them: a bed of irises in the garden. He called painting «the lightning conductor for my illness» and worked without a preparatory drawing, straight onto the canvas.\u003c\/p\u003e\n\n\u003cp\u003eThe composition owes its flatness and its cropped edges to the Japanese woodblock prints he collected. Every plant is different — leaves crossing, bending, doubling back — and one white iris stands alone at the left edge. His brother Theo sent the painting to the Salon des Indépendants that September. Its first owner was the critic Octave Mirbeau, who wrote of how well Van Gogh had understood «the exquisite nature of flowers».\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA note on the colour.\u003c\/strong\u003e The irises were painted with a red lake pigment mixed into the blue, so they read violet when they left the easel. That red has faded over a century and more, and the flowers are bluer today than Van Gogh saw them. We print the canvas as the museum photographs it now, and we say so rather than inventing the violet back.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the J. Paul Getty Museum's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 74.3 × 94.3 cm \/ 29.3 × 37.1 in — oil on canvas, The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.68× original. Image 63.84 × 50.40 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.45× original. Image 42.00 × 33.16 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy there is no original size here.\u003c\/strong\u003e Everywhere else in this shop the first size is the size of the object in the museum. A canvas is a different case: we do not have paper that wide, and a painting is not a sheet. So both sizes are reductions, and we say by how much rather than leaving you to guess.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy the side margins are wider on the large sheet.\u003c\/strong\u003e The canvas is a little squarer than an 80 × 60 sheet. Rather than crop the picture to fill the paper, we set the top and bottom margins to the house measure and let the sides come out wider — 8.1 cm each. It reads as a mount, which is what a print room would give it anyway.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas is reproduced whole, edge to edge. Nothing is cropped.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eIrises\u003c\/em\u003e, 1889; oil on canvas, 74.3 × 94.3 cm.\u003cbr\u003e\nThe J. Paul Getty Museum, Los Angeles, Acc. No. 90.PA.20.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under the Getty Open Content Program.\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 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.45× original","offer_id":65770876600669,"sku":"MUS-024-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.68× original","offer_id":65770876633437,"sku":"MUS-024-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-024_Irises_plate.jpg?v=1788268265"},{"product_id":"blechen-palm-house-pfaueninsel-giclee-print","title":"Carl Blechen – The Interior of the Palm House on the Pfaueninsel, 1834 | Giclée Print","description":"\u003cp\u003ePalms under glass, a shaft of daylight down the middle of the house, and figures in silk arranged among the leaves as if they were part of the planting. Carl Blechen painted this in 1834, for the king who had built the glasshouse.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe building is gone.\u003c\/strong\u003e Karl Friedrich Schinkel's palm house stood on the Pfaueninsel, an island in the Havel below Potsdam. Friedrich Wilhelm III had it put up in the early 1830s to hold the Foulchiron palm collection, bought in Paris on Alexander von Humboldt's advice. It burned down in 1880. Blechen's paintings are among the few records of what the inside of it looked like.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eIt is a room, not a landscape.\u003c\/strong\u003e That is what makes it hang so well. The picture has a floor, a ceiling, columns and a path running away from you — the structure of an interior — and it is filled edge to edge with green. Hung in a room, it works the way a window onto a garden works, which is more or less what the palm house was built to be.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA note on the figures.\u003c\/strong\u003e The women in Indian dress are Blechen's invention rather than a record of anything on the island. The house was fitted out with Indian motifs, and he dressed the figures in textiles that echo them, treating the people as an extension of the decor — the Art Institute says as much in its own catalogue entry. It is a European fantasy of the tropics, painted in a Prussian greenhouse, and worth seeing as that.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-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: 135 × 126 cm \/ 53.1 × 49.6 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.31× original. Image 39.10 × 42.00 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.41× original. Image 51.21 × 54.98 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy the large sheet has wider side margins.\u003c\/strong\u003e The canvas is almost square, a little taller than it is wide. On the 70 × 70 sheet the picture is set to exactly 300 dpi — the house floor for a giclée — and that fixes its width at 51.2 cm. The border then comes out at 9.4 cm at the sides against 7.0 cm at the top. Taking the picture wider would mean enlarging the museum's file beyond its own resolution, which we don't do.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nCarl Blechen (German, 1798–1840), \u003cem\u003eThe Interior of the Palm House on the Pfaueninsel Near Potsdam\u003c\/em\u003e, 1834.\u003cbr\u003e\nOil on canvas; 135 × 126 cm.\u003cbr\u003e\nArt Institute of Chicago, acc. no. 1996.388.\u003cbr\u003e\nPainted for Friedrich Wilhelm III of Prussia, who paid the artist 1000 Taler; probably given by him to his daughter Charlotte, as Tsarina Alexandra Fedorovna; in a Swiss collection by about 1920; to the Art Institute in 1996.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0.\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, 0.31× original","offer_id":65773761495389,"sku":"MUS-026-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.41× original","offer_id":65773761528157,"sku":"MUS-026-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-026_PalmHouse_plate.jpg?v=1788276892"},{"product_id":"vangogh-poets-garden-giclee-print","title":"Vincent van Gogh – The Poet’s Garden, 1888 | Giclée Print","description":"\u003cp\u003eA garden filling the whole canvas: tall grass with white flowers in front, a grove of bushes and trees behind, and above them a sky that is not blue but yellow-green. There is no horizon to speak of and almost nothing that is not foliage. Measured pixel by pixel, this is the greenest sheet in the shop.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe poet is Gauguin.\u003c\/strong\u003e Van Gogh painted the public garden across the square from the Yellow House in Arles, in September 1888, for the room he was preparing for Paul Gauguin — the poet of the title — whose arrival he had been waiting for all summer. The Art Institute says exactly this in its own catalogue entry. The room was furnished, the walls were hung with pictures of this garden, and the friendship lasted nine weeks.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe sky is the daring part.\u003c\/strong\u003e Van Gogh puts a heavy chrome-yellow sky over a green garden and lets the two fight. It is the same argument he was making in his letters that autumn: that a colour is not there to describe the thing, it is there to do something to the colour beside it. Cover the sky with your hand and the picture goes quiet.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-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: 92.1 × 73 cm \/ 36.3 × 28.7 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.46× original. Image 42.00 × 33.18 cm.\u003cbr\u003e\n\u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.69× original. Image 63.80 × 50.39 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy the borders are wider at the sides.\u003c\/strong\u003e The canvas is a little taller in proportion than our sheets are, so on both sizes the picture is set by the height of the sheet and the side borders come out wider than the top and bottom. On the large sheet that is 8.1 cm at the sides against 4.5 at the top. Making the picture wider would push it off the sheet, not off the resolution: Chicago's file carries 12,637 pixels across, enough for a print 107 cm wide at our 300 dpi floor. Here the paper is the limit, for once, and not the file.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eThe Poet's Garden\u003c\/em\u003e, 1888.\u003cbr\u003e\nOil on canvas; 73 × 92.1 cm.\u003cbr\u003e\nArt Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, acc. no. 1933.433.\u003cbr\u003e\nFrom the artist's sister-in-law Johanna van Gogh-Bonger through several European galleries; with Mrs Lewis Larned Coburn, Chicago, by 1928; bequeathed to the Art Institute in 1933.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0.\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 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.46× original","offer_id":65775612199261,"sku":"MUS-028-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.69× original","offer_id":65775612232029,"sku":"MUS-028-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-028_PoetsGarden_plate.jpg?v=1788280891"},{"product_id":"vangogh-pont-de-clichy-giclee-print","title":"Vincent van Gogh – Fishing in Spring, the Pont de Clichy, 1887 | Giclée Print","description":"\u003cp\u003eThe Seine at Asnières in spring, seen from under the willows, with two moored punts and a fisherman. Everything is broken into short separate strokes — green, blue, yellow, pink — laid side by side rather than mixed. This is Van Gogh in Paris in 1887, painting beside Paul Signac and trying out what the divisionists had worked out about light.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat the technique is doing.\u003c\/strong\u003e Look at the water. There is no blue paint that is simply water-coloured. There are dashes of green, of pale yellow, of violet, and the eye assembles them into moving water at viewing distance. The Art Institute describes it exactly this way in its own catalogue entry: small strokes of pure colour that add up to the effect of light on surfaces.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe red edge is the painting, not a border.\u003c\/strong\u003e Van Gogh worked on a canvas prepared with a red-brown ground, and along all four edges that ground is still bare where the paint stops. We print the canvas as the museum photographs it, so that reddish line runs around your print. It is not a frame we added and it is not a printing fault — it is the ground the picture was built on, and the shop's rule is that we reproduce and do not retouch.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-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: 60 × 50.5 cm \/ 23.6 × 19.9 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.67× original. Image 40.27 × 33.60 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — reduced, 0.84× original. Image 50.34 × 42.00 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eFishing in Spring, the Pont de Clichy (Asnières)\u003c\/em\u003e, 1887.\u003cbr\u003e\nOil on canvas; 50.5 × 60 cm.\u003cbr\u003e\nArt Institute of Chicago, Gift of Charles Deering McCormick, Brooks McCormick and Roger McCormick, acc. no. 1965.1169.\u003cbr\u003e\nFrom the artist's sister-in-law Johanna van Gogh-Bonger to Cornelis Hoogendijk, The Hague; through family collections in Amsterdam and Switzerland; Knoedler \u0026amp; Co. to Chauncey and Marion Deering McCormick, Chicago, May 1947; given to the Art Institute in 1965.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0.\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 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.67× original","offer_id":65775761064285,"sku":"MUS-029-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Reduced, 0.84× original","offer_id":65775761097053,"sku":"MUS-029-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-029_PontDeClichy_plate.jpg?v=1788281679"},{"product_id":"monet-woman-with-a-parasol-giclee-print","title":"Claude Monet – Woman with a Parasol, 1875 | Giclée Print","description":"\u003cp\u003eCamille Monet stands on a hillside at Argenteuil with a green parasol against a fast, windy sky; her son Jean is behind her in the grass. Monet painted it outdoors and quickly — the canvas shows through the sky in places, because he did not go back to fill it.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eIt was painted to be seen at speed.\u003c\/strong\u003e The National Gallery's own description is blunt about the method: the sky is sketched in chaotic strokes of blue and grey with bare canvas left exposed; the grass is denser, in short strokes of green, blue and brown; the buttercups are dabs of yellow, and that yellow comes back on Camille's sleeve. Stand close and it is a field of separate marks. Step back and the wind moves.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhere it hung first.\u003c\/strong\u003e Monet showed it in Paris in 1876 at the second Impressionist exhibition, as no. 161, under the title \u003cem\u003ePromenade\u003c\/em\u003e. It went from the artist the same year to Dr Georges de Bellio, the homeopath who bought from the Impressionists when almost no one else did.\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 nineteenth-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: 81 × 100 cm \/ 31.9 × 39.4 in — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.41× original. Image 33.60 × 41.64 cm.\u003cbr\u003e\n\u003cstrong\u003e60 × 80 cm \/ 23.6 × 31.5 in\u003c\/strong\u003e — reduced, 0.62× original. Image 50.40 × 62.47 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e The canvas is proportionally narrower than our sheets, so the white border is wider above and below than at the sides — on the large sheet 8.2 cm at the top against 4.8 at the sides. The alternative would be to run the picture nearly to the edge, and a sheet with no room around it looks like a mistake in a frame.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nClaude Monet (French, 1840–1926), \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e, 1875. Signed lower right: Claude Monet 75.\u003cbr\u003e\nOil on canvas; 100 × 81 cm.\u003cbr\u003e\nNational Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, acc. no. 1983.1.29.\u003cbr\u003e\nFrom the artist in 1876 to Dr Georges de Bellio, Paris; by inheritance to M. and Mme Ernest Donop de Monchy, Paris; Georges Menier, Paris, by 1924; Menier sale, Palais Galliera, 15 June 1965, no. 121; bought by Hector Brame for Paul Mellon; given to the National Gallery in 1983.\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":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.41× original","offer_id":65776016228701,"sku":"MUS-030-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"60 × 80 cm \/ 23.6 × 31.5 in — Reduced, 0.62× original","offer_id":65776016261469,"sku":"MUS-030-6080","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-030_Parasol_plate.jpg?v=1788283311"},{"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":"monet-irises-1914-giclee-print","title":"Claude Monet – Irises, 1914–17 | Giclée Print","description":"\u003cp\u003eGreen from edge to edge, with violet irises running through it and no horizon anywhere. Monet painted this in his late seventies at Giverny, on a canvas two metres square, at the point where the garden stopped being a view and became a surface.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThere is no ground and no sky.\u003c\/strong\u003e The Art Institute puts it plainly: the picture has no clear spatial markers. You are not standing in front of a flowerbed, you are inside one — or above water, which is the other reading the museum offers. Monet had been going blind with cataracts and painting bigger and bigger; what came out of it is closer to a wall than a window.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eFound in the studio.\u003c\/strong\u003e The canvas stayed with Monet, passed to his son Michel at Giverny, and was still in the studio in the 1950s, damaged during the war. Katherine Kuh, then curator at the Art Institute, bought it in 1956 — because she saw in it what the American abstract painters of her own moment were doing. A picture from 1917 entered the museum as a contemporary argument.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago'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: 200.7 × 200 cm \/ 79 × 78.7 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.21× original. Image 42.00 × 41.93 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy only one size.\u003c\/strong\u003e Chicago's photograph of this canvas runs 5,407 pixels across. At our 300 dpi floor that carries a print 45.8 cm wide and no further, and on a 70 × 70 sheet the picture would float in twelve centimetres of white on every side. One sheet, at the size the file honestly supports. If the museum ever rescans it larger, we will add the big square.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nClaude Monet (French, 1840–1926), \u003cem\u003eIrises\u003c\/em\u003e, 1914–17.\u003cbr\u003e\nOil on canvas; 200 × 200.7 cm.\u003cbr\u003e\nArt Institute of Chicago, Art Institute Purchase Fund, acc. no. 1956.1202.\u003cbr\u003e\nThe artist; by descent to his son Michel Monet, Giverny; Katia Granoff, Paris, by 1956; sold to the Art Institute of Chicago, 1956.\u003cbr\u003e\nPublic domain. The museum publishes its photograph under CC0.\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, 0.21× original","offer_id":65776232038749,"sku":"MUS-032-5050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-032_Irises_plate.jpg?v=1788285024"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/collections\/MUS-022_StarryNight_plate.jpg?v=1788261248","url":"https:\/\/museartis.com\/collections\/paintings.oembed","provider":"Museartis","version":"1.0","type":"link"}