{"title":"Home Decor","description":"\u003cp\u003eLoom of Thirds started as a gallery you could wear. Now there's a gallery for your walls too: selected pieces of public domain art, American paintings, Japanese ukiyo-e prints, and Dutch landscapes, printed as canvas art and framed posters. Same commitment to real research and proper credit, just off the shirt and onto the wall.\u003c\/p\u003e","products":[{"product_id":"constant-gabriel-windmill-polder-waterway-framed-poster","title":"A Windmill on a Polder Waterway – Constant Gabriël Framed Poster","description":"\u003cp\u003ePaul Joseph Constantin Gabriël, usually known as Constant Gabriël, was part of the Hague School, a group of Dutch painters working in the second half of the 19th century who focused on the flat, watery landscape of the Netherlands itself rather than historical or classical subjects. This piece, showing a windmill along a polder waterway, is a fairly direct example of what the Hague School was after: ordinary Dutch land and light, painted without much embellishment.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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It's part of Hokusai's Thirty-Six Views of Mount Fuji, published in the early 1830s, and it reached Europe not long after, where it influenced artists from Van Gogh to Debussy.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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It's part of his Thirty-Six Views of Mount Fuji series, published between 1829 and 1833, and it's usually read alongside its companion piece, The Great Wave, as one of the two prints that made the series famous outside Japan. Where the Wave is all motion and drama, this one is almost completely still.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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It's a good example of how much of shin-hanga's appeal, and Koson's especially, came from marrying traditional Japanese subjects with a compositional sensibility that felt genuinely modern for its time.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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The series as a whole is considered one of the high points of Japanese landscape printmaking, and this piece carries the same flattened perspective and bold cropping that made the series so influential, including on European painters who encountered it decades later.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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The paulownia tree carried its own symbolic weight in Japan, associated with nobility and used in family and imperial crests, which likely wasn't lost on Koson when he chose the pairing.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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Both subjects carried strong associations with beauty and status in Japanese art, and pairing them was a fairly deliberate way of stacking those meanings into a single, decorative composition.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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Yoshitsuya worked in Edo through the 1840s, part of a large generation of Kuniyoshi's students who kept that dynamic, high-motion style alive in Japanese printmaking.\u003c\/p\u003e\u003cp\u003eThis framed poster is printed on 300 GSM artboard with a glossy, laminated finish, set in a 1-inch frame with a scratch-protection layer for transit. It ships in eco-friendly packaging with an extra mounting kit included. 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Eakins reworked the painting after it was first shown, likely around the same time he was forced out of his teaching post at the Pennsylvania Academy of the Fine Arts over a classroom controversy, a rough period that may have shaped how he returned to this piece.\u003c\/p\u003e\u003cp\u003eThis canvas print is made from PolyCanvas fabric stretched over a sturdy wooden frame, printed with fade-proof sublimation printing and OEKO-TEX-certified inks. 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It's part of why Alexander earned the nickname \"the painter of the flowing line,\" both at home in America and abroad.\u003c\/p\u003e\u003cp\u003eThis canvas print is made from PolyCanvas fabric stretched over a sturdy wooden frame, printed with fade-proof sublimation printing and OEKO-TEX-certified inks. 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The striped skirt and the sweep of her upswept hair give the whole composition a sense of movement, part of why critics of the time called Alexander \"the painter of the flowing line.\" He trained in Munich and worked for years in Paris and New York, becoming one of the more sought-after portraitists of his generation.\u003c\/p\u003e\u003cp\u003eThis canvas print is made from PolyCanvas fabric stretched over a sturdy wooden frame, printed with fade-proof sublimation printing and OEKO-TEX-certified inks. 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