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The Starry Night, 1889 · Vincent van Gogh · Shop this print →
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The Starry Night by Vincent van Gogh, printed and hung on a wall

Art made to last for generations

Printed with archival inks rated to resist fading for over 100 years, on 100% cotton rag paper or archival canvas, so your print looks as good in decades as the day it arrives.

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Water Lilies by Claude Monet, c. 1915–1926

Impressionism

1860s–1880s, France

Impressionism broke from the polished studio painting of the French Academy, favoring quick, visible brushstrokes and everyday subjects captured outdoors in shifting light. The name comes from a jab at Claude Monet's 1872 harbor scene Impression, Sunrise.

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The Starry Night by Vincent van Gogh, 1889

Post-Impressionism

1880s–1900s, France

Post-Impressionism kept Impressionism's bright color and everyday subjects but pushed toward more personal, symbolic, and structured uses of paint. Vincent van Gogh's thick, directional brushwork and saturated color turned landscapes and still lifes into vehicles for emotion rather than pure observation.

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Under the Wave off Kanagawa (The Great Wave) by Katsushika Hokusai, c. 1831

Japanese Woodblock Prints

17th–19th century, Edo-period Japan

Ukiyo-e, or 'pictures of the floating world,' were mass-produced Japanese woodblock prints depicting landscapes, kabuki actors, and city pleasures. Katsushika Hokusai's Thirty-six Views of Mount Fuji, especially The Great Wave, became the most recognized examples worldwide and helped ignite the Japonisme craze in 1870s Europe.

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The Kiss by Gustav Klimt, 1908–1909

Art Nouveau Posters

1890s–1900s, Paris and Vienna

Art Nouveau treated the poster and the decorative panel as fine art, wrapping flowing organic lines, flattened pattern, and stylized female figures around advertisements, theater bills, and interiors. Alphonse Mucha's 1894 poster for Sarah Bernhardt made him the style's defining name in Paris; Gustav Klimt carried its decorative instincts into painting in Vienna.

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Sistine Madonna by Raphael, c. 1512–1513

Renaissance

1400s–1500s, Italy and Northern Europe

The Renaissance revived the art of classical antiquity and gave European painting linear perspective, the study of anatomy and a new taste for portraits of real people. Raphael in Rome and Albrecht Dürer in Nuremberg show its southern and northern forms.

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The Calling of Saint Matthew by Caravaggio, 1609

Baroque & Dutch Golden Age

1600s, Italy, Flanders and the Dutch Republic

Baroque painting traded Renaissance calm for drama: deep colour, strong light and shadow, and emotion aimed straight at the viewer. Caravaggio in Rome, Rubens in Antwerp and Rembrandt in Amsterdam each took it in a different direction.

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Witches' Sabbath by Francisco Goya, 1820–1823

Romanticism

Late 1700s–mid 1800s, Europe

Romanticism put feeling, imagination and the force of nature ahead of classical order. In this collection it means J. M. W. Turner's storms and blazing skies, and Francisco Goya's dark visions of war and superstition.

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Portrait of a Lady by Gustav Klimt, 1916–1917

Symbolism & the Vienna Secession

1890s–1910s, Vienna and Europe

Symbolist painters looked past everyday appearance to dreams, myth and private meaning. In Vienna, Gustav Klimt and the Secession set themselves against the official academy, aiming to merge painting with architecture and design.

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Gassed by John Singer Sargent, 1919

American Painting

1860s–1920s, United States

Late 19th-century American painting pulled in two directions, and the two painters here show both. Winslow Homer painted the sea, the Civil War and rural life with plain-spoken force, while John Singer Sargent became the leading portraitist of his generation on both sides of the Atlantic.

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Composition VIII by Wassily Kandinsky, 1923

Expressionism & Early Modernism

1890s–1920s, Northern Europe

Expressionist painters bent colour and form to show inner feeling rather than outward appearance. Edvard Munch's anxious, haunted images and Wassily Kandinsky's move into abstraction mark the path from Symbolism to modern art.

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The Broken Pitcher by William-Adolphe Bouguereau, 1891

Academic Art

1850s–1900s, France

Academic painting followed the training of the French Académie des Beaux-Arts: drawing first, a smooth, polished finish, and subjects from myth, religion and idealised everyday life. William-Adolphe Bouguereau was one of its leading figures in Paris.

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The great masters, framed right

Every work is chosen from the great masters, and every crop is checked by eye so the painting sits right on your wall, not squeezed into a template.

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The Tree of Life (Stoclet Frieze) by Gustav Klimt, printed and hung on a wall