Paintings from open-access museum collections, printed on Comfort Colors 1717 garment-dyed cotton, canvas totes and fine art posters. Where the museum record is available, each piece carries its holding institution and accession number, the same way the wall label does.
One of the most serene still lifes van Gogh ever painted, made at Saint-Remy in May 1890, weeks before he left the asylum. The roses were originally pink; the red pigment has faded to white.
Painted in Arles in August 1888. Beside the vase sits a copy of Emile Zola's novel La Joie de vivre, a book van Gogh had used once before as a symbol.
Painted in 1881, just after Renoir returned from Italy and Raphael. He set out to bring crisp drawing and solid volume back into a style that had dissolved into light.
A turn away from the open-air landscapes of Pissarro's early years, painted while he worked closely with Cezanne at Pontoise on the weight and geometry of ordinary things.
Painted in May 1890 in his last weeks at the Saint-Paul-de-Mausole asylum. Confined to the grounds, van Gogh studied the violet irises along the walled garden paths.
Painted during his convalescence at Saint-Remy. Van Gogh thought the cypress a subject equal to his sunflowers, and wrote to Theo about their dark rhythm against the wheat.
A study of worn working boots, and a subject van Gogh returned to more than once. He treated ordinary objects with the seriousness others reserved for portraits.
Narumi was the fortieth station on the Tokaido highway and was known across Japan for arimatsu shibori, a resist-dyed indigo cloth. Hiroshige shows the shops hung with it.
From Hiroshige's late Edo series. Its steep cropping and flattened space startled European painters when the prints reached Paris a generation later.
An East Asian hanging scroll in ink on paper. The Met's catalogue does not record the artist, which is common for work of this period.
Painted at Saint-Remy in 1889, printed on a heavyweight canvas tote.
A late flower piece, printed on a heavyweight canvas tote.
One of the olive grove studies van Gogh made at Saint-Remy, printed on a heavyweight canvas tote.
Hiroshige's view of the shibori-dyeing town on the Tokaido highway, printed on a heavyweight canvas tote.
Van Gogh's Nuenen period, printed on a heavyweight canvas tote.
Archival print of Renoir's 1881 still life, made as he moved toward firmer drawing.
Archival print of the wheat field and cypress van Gogh painted at Saint-Remy.
Archival print of van Gogh's olive harvest, painted at Saint-Remy in 1889.
Archival print of van Gogh's olive grove at Saint-Remy.
Archival print of Hiroshige's view of Narumi on the Tokaido highway.
Archival print of Manet's small, plain, perfectly weighted still life of a brioche.
Ultramarine prints artworks that museums have released into the public domain, drawn from The Metropolitan Museum of Art's open-access collection and reproduced from the museum's own master files.
The writing matters as much as the image. Where the museum record is available, each piece is documented with its artist, title, date, medium, original dimensions, holding institution and accession number, so you can look up the work you are wearing and read what the museum says about it.
Shirts are Comfort Colors 1717, garment-dyed heavyweight cotton at 6.1 oz. Everything is printed to order in the United States.
Free standard shipping within the United States on orders of $35 or more. Printing and processing takes three to seven business days.
Because every item is printed to order, returns and exchanges are not accepted for change of mind or for the wrong size. Please check the size chart before ordering.
If your order arrives damaged, defective or misprinted, or is lost in transit, we will replace it free or refund it in full. Report it within 30 days of delivery with a photo.