Build the wall set
Art, frame, light and hanging gear, picked together. Choose a size and finish; the wall preview shows exactly what you're getting. One button sends the whole kit to your Amazon cart.
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How big can you print it?
Standard frame sizes, turned to match the artwork. "Crops" is how much of the picture you lose filling that frame edge to edge — or keep it all and let a mat take up the difference.
| Frame | Effective dpi | Verdict | Crops |
|---|---|---|---|
| 10 × 8 in | 368 | Gallery sharp | nothing |
| 14 × 11 in | 262 | Sharp up close | 2% |
| 16 × 12 in | 230 | Sharp up close | 6% |
| 20 × 16 in | 184 | Poster sharp | nothing |
| 24 × 18 in | 153 | Poster sharp | 6% |
| 36 × 24 in | 102 | Fine across a room | 17% |
| 40 × 30 in | 92 | Too soft | 6% |
The ticket
Pity is a print by William Blake (British, London 1757–1827 London), dated ca. 1795. Relief etching, printed in color and finished with pen and ink and watercolor. Size on the museum record: sheet: 16 5/8 x 20 3/4in. (42.2 x 52.7cm). The Metropolitan Museum of Art holds it in its Drawings and Prints collection — Gift of Mrs. Robert W. Goelet, 1958, transferred from European Paintings.
Pity is a relief etching, printed in color and finished with pen and ink and watercolor by William Blake, part of The Met's open-access collection. The museum dates it ca. 1795 (accession 58.603, Drawings and Prints). Spend a minute with the composition before choosing a size: notice where the eye lands first and where it rests. The Met's scan measures 3,681 × 2,944 pixels, which prints about 12.3 × 9.8 in at 300 dpi and 24.5 × 19.6 in at a still-comfortable 150 dpi. Its wide proportions sit naturally over a sofa, console or bed, and the crop figures in the set builder show what a standard frame would trim. Its muted earth tones are forgiving: natural wood softens the palette, walnut deepens it and black frames it like a gallery. Line work lives on contrast. Print it on smooth bright paper and give it a wider frame or mat so the fine marks are not swallowed. Add a small picture light and keep the centre of the piece around 57 inches from the floor; those two choices make a reproduction look deliberate.
The Met released its scan under CC0, which means no permission, no fee and no credit line required. That file is 3,681 × 2,944 pixels — 10.8 megapixels — good for a gallery-sharp print up to 12.3 × 9.8 in. The print itself measures about 20.7 × 16.6 in, so a true life-size print runs below 300 dpi — still sharp at normal viewing distance.Line work lives or dies on contrast. Print it on a smooth, bright paper and give it a wide mat: small graphic work drowns in a thin frame and a big empty border makes it look like it came out of a print room drawer.
On the receipt
- Artist
- William Blake
- Date
- ca. 1795
- Medium
- Relief etching, printed in color and finished with pen and ink and watercolor
- Size
- sheet: 16 5/8 x 20 3/4in. (42.2 x 52.7cm)
- Museum
- The Met · Drawings and Prints
- Accession
- 58.603
- License
- Public domain · CC0 1.0
- Source
- Museum record ↗
More William Blake
All 14 →
Angel of the Revelation (Book of Revelation, chapter 10)ca. 1803–5Free · sharp to 8.1 × 12.1 in at 300 dpi, uncropped
Angel of the Divine Presence Bringing Eve to Adam (The Creation of Eve: "And She Shall be Called Woman) (recto); Sketch for the same (verso)ca. 1803Free · sharp to 9.8 × 12.2 in at 300 dpi, uncropped
God Judging Adamca. 1795Free · sharp to 13.3 × 10.9 in at 300 dpi, uncropped
Songs of Innocence and of Experience, Shewing the Two Contrary States of the Human Soul: Combined Title-page[1789–94] printed ca. 1825Free · sharp to 10.6 × 12.4 in at 300 dpi, uncropped