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Edo, 1831
The Great Wave off Kanagawa
The Japonisme Story
In 1831, Hokusai painted his wave with a blue pigment shipped from Berlin. The prints sailed back — and Paris never recovered.
Saint-Rémy, 1889
The Starry Night
One Horizon, Two Skies
WEST
The wave rose in the East. The stars answered in the West.
Take the Horizon Home
Wear Hokusai's wave by day, drink your morning coffee under Van Gogh's stars — the same admiration, worn two ways.
The Copy, and the Original
In 1887, Van Gogh painted Hiroshige's plum orchard stroke for stroke, from a print he kept pinned to his studio wall. Wear them side by side, the way he once studied them.
The museum shop
Each piece is printed to order from the real masterpiece. Take your time — nothing here is in a hurry.
01
Wear the art
T-shirts and hoodies printed with the paintings themselves.
From $24.90
106 works
02
Live with it
A mug for every morning, posters and canvas for your walls.
From $14.90
77 works
Prologue · Paris, 1867
At the 1867 World's Fair, Japan showed its arts in Paris for the first time. Within a few years, woodblock prints were sold in shops along the boulevards, traded between painters and pinned to studio walls. Critics gave the craze a name — Japonisme. Three painters in particular never looked at a canvas the same way again.
Chapter I · Vincent van Gogh × Utagawa Hiroshige
In Paris, Vincent and his brother Theo collected more than six hundred Japanese prints. In 1887 Vincent did something no one had asked of him: he painted two of Hiroshige's prints in oil, stroke for stroke — the plum garden at Kameido and a bridge caught in a sudden shower — and framed them with Japanese characters he copied without being able to read them.
All my work is based to some extent on Japanese art.Vincent van Gogh, letter to Theo, 1888
Vincent van Gogh
Shop Van Gogh
Chapter II · Claude Monet × Utagawa Hiroshige
Monet dressed Camille in a crimson kimono and surrounded her with paper fans — La Japonaise, 1876. It began as a joke. It did not stay one.
In the 1890s he dug a pond, planted wisteria and water lilies, and arched a wooden footbridge over the water — a garden composed like a Hiroshige view. Then he painted it, again and again, for the rest of his life.
Chapter III · Mary Cassatt × Kitagawa Utamaro
In April 1890 the École des Beaux-Arts in Paris hung more than seven hundred Japanese prints. Mary Cassatt went with Degas, more than once, and wrote to Berthe Morisot that one could not dream of anything more beautiful.
Within a year she made ten colour prints — flat planes of colour, fine lines, women caught in private moments: a letter being sealed, a basin, a mirror. Utamaro's world, seen by an American woman in Paris.
Wear the dialogue
Every piece is printed to order from museum-quality files.
The Museum
The ground floor holds the Japanese masters. Upstairs, the painters who fell in love with them.
1F — Ukiyo-e Masters
01 菱川師宣Hishikawa Moronobu · c.1618–1694 02 尾形光琳Ogata Kōrin · 1658–1716 9 03 喜多川歌麿Kitagawa Utamaro · c.1753–1806 4 04 葛飾北斎Katsushika Hokusai · 1760–1849 46 05 伊藤若冲Itō Jakuchū · 1716–1800 6 06 小原古邨Ohara Koson · 1877–1945 5 07 歌川国芳Utagawa Kuniyoshi · 1798–1861 10 08 東洲斎写楽Tōshūsai Sharaku · fl. 1794–1795 5
