Based in Somerville, MA, Printed Village regularly issues challenges to artists around the world, creating unique and wearable designs from their submissions.
The Courtyard Mums scarf design is the winning style from a Gardner Museum-inspired challenge, created by artist Cathy Hunt. Participating artists drew inspiration from the Gardner's Courtyard.
75 x 37 inches
$47.00Based in Somerville, MA, Printed Village regularly issues challenges to artists around the world, creating unique and wearable designs from their submissions.
John Singer Sargent, American, 1856-1925
Images like El Jaleo lean toward the daring, risky, unconventional, dramatic, erotically off-center, and odd. Because nomadic groups were believed to ignore ethical principles and exalted superstition over orthodox religion, they endured oppression in numerous countries during the nineteenth century, but artists and bohemians idealized them as free spirits. Bizet's opera Carmen, first performed in Paris in 1875, scandalized the public with its tale of a proud, lusty Andalusian protagonist torn between an army officer and a toreador.
During his travels in Spain in 1879, Sargent was mulling over a major work of art in which he could express his love of Romani music, dance, and picturesque costumes. On his return to Paris, he set to work on a wide horizontal picture whose proportions simulated the shallow stage space of popular musical establishments. He named the painting El Jaleo to suggest the name of a dance, the jaleo de jerez, while counting on the broader definition of jaleo,which includes ruckus or hubbub. The painting was exhibited at the Paris Salon of 1882 with the more explicit title El Jaleo: Danse des gitanes (Dance of the Gypsies).
Garden of Poppies
John Appleton Brown, American,1844-1902
John Appleton Brown was a landscape painted and pastellist who had studied in France with Jean-Baptiste Camille Corot (1796-1875). Brown established himself in a Boston studio in 1875 and concentrated upon creating poetic and pastoral depictions of the New England landscape. In Garden of Poppies, Brown employs a bright pallet to create the freshness of poet Celia Thaxter's Appledore Island garden.33 x 45 inches
$47.00The Dormition and Assumption of the Virgin
Return from the Lido
Ralph Wormeley Curtis, American, 1854-1922
Ralph Curtis was the son of Daniel and Arianna Curtis, Bostonians who moved permanently to Venice in the late 1870s. After graduating from Harvard (where he was one of the founders of the Lampoon), Curtis studied in Paris at the studio of Carolus-Duran. There he met John Singer Sargent, a distant relative, who became a good friend and sometime painting companion. Curtis met Isabella Stewart Gardner in 1884, when the Gardners spent five weeks in Venice. Thereafter, they met and corresponded frequently. Curtis found works of art for Mrs. Gardner, wrote about developments in the art world, and kept her up-to-date on “gondola gossip” in Venice.
Ralph Curtis’s painting of a gondola gliding through Venice must have held special meaning for Mrs. Gardner. Like the woman depicted, she and Curtis spent many hours in each other’s company floating through the canals. The slight touch of purple through the sky and in the water, along with the mysterious faces of the woman and her gondolier, adds the perfect tone of languid, exotic atmosphere to the scene.
Isabella Stewart Gardner
John Singer Sargent, American, 1856-1925
Mrs. Gardner sat for Sargent during his visit to Boston in January 1888. He was paid $3000 for the portrait, which was exhibited to great acclaim at Boston’s St. Botolph Club. The work also inspired gossip and legend: someone jokingly titled it “Woman: An Enigma,” while others believed that the sensuous display of flesh deliberately echoed the scandal recently created by Sargent’s Madame X. Mrs. Gardner herself said that she rejected eight renderings of the face until she was satisfied.
In its gallery, surrounded by altarpieces, stained glass, and religious statuary, the sacramental quality noted by nineteenth-century reviewers is even more pronounced.
$47.00The Rape of Europa
The Dormition and Assumption of the Virgin
Fra Angelico, Italian, about 1400-1455
Fra Angelico’s technical and compositional innovations paved the way for a more modern manner of painting in Florence, and he found favor with important patrons, including two popes. This panel is the third in a set of four reliquaries, or containers for holy relics, depicting episodes from the Virgin’s life.
Nineteenth-century enthusiasts celebrated this Dominican painter “Fra Angelico” (the angelic friar) for the spiritual content and lyrical quality of his work. Most of his paintings in the United States are the surviving fragments of larger works, but this one is nearly intact and was greatly admired in Boston. Gardner’s friend the American painter John La Farge, whose works can be found in the Blue Room, once reminded her that even Robert Langton Douglas, a British art critic and director of the National Gallery of Ireland, praised Gardner’s Fra Angelico in his writings.
A Young Lady of Fashion
attributed to Paolo Uccello, Italian, 1397-1475
The portrait has a highly decorative quality in which costume and ornament play a major role. The rather flatly modeled face is placed on an insubstantial bust set against a uniform blue background. The woman is portrayed both according to literary notions of female pulchritude, which called for fair skin and blonde hair, and the dictates of contemporary fashion. Costly brocaded fabrics, pearls, and precious stones serve not only to display the sitter’s familial wealth and status but also to enhance her physical appearance – in art, as in life. In addition to a red and gold brocade sleeve and a sleeveless overdress, the woman wears a head brooch, a pearl choker with jeweled pendant, and a white cap ornamented with pearls.
This fashionable beauty looks impassive, immobile, and immutable, as if she were outside space and time. Her portrait image has a static, stereotyped character, in which the sitter’s individuality is almost entirely suppressed in favor of the social ideals for which she stands.
In August 2018, choreographer, painter, dancer, and director Shen Wei transformed the Artist-in-Residence apartment at the Museum into a working studio. Wei was introduced as a young child to a variety of traditional Chinese art forms including opera, watercolor, and ink drawing. Today he is an artist who moves freely across mediums to find spiritual meaning in an increasingly material world. One of the works he was drawn to during his residency is the A Young Lady of Fashion, located in the Long Gallery. This Renaissance portrait, painted in profile, has a striking resemblance to a member of the Shen Wei Dance Arts. The encounter with this artwork inspired Shen Wei and ultimately led to the creation of Passion Spirit, a film shot at the Museum and at the Arnold Arboretum the following Summer.33 x 51 inches
$47.00Francois Boucher (French, 1703 - 1770), The Chariot of Venus, 18th century
San Giuseppe di Castello
John Singer Sargent, American, 1856-1925
The different shades of the water, the brightness of the light and the dense urban architecture of Venice were elements that fascinated Sargent throughout his life. In this drawing, he turns a rather unspectacular neighborhood into a miraculous metaphor for the romantic appeal of Venice. His passion for the city apparently did not extend to its inhabitants: note, how little interest he showed in depicting the figures on the bridge.
33.5" x 51"
A Girl with a Lute
Bartolomeo Vento, Italian, active 1502-1513
The lute and the song for tenor and bass lying open on the sill signify the artist's ambition to transcend the conventions of painting and produce a song-haunted mood. This lyrical idea overran Lombardy and Venice in the early sixteenth century and had been quickly brought to its most moving pitch at Venice in the light and color of Giorgione. Here somber shadow prevails, under the influence of the more mystic Leonardo. The picture was painted presumably in Milan, where there are still three versions, two of them by Bartolommeo himself, one of these bearing the same date.33 x 42 inches
Self-Portrait, Age 23
Rembrandt van Rijn, 1606-1669
Rembrandt’s self-portraits, made throughout his long career, served many different purposes, and in these explorations of his own face and personality remain elusive in many ways. This is one of his first painted self-portraits, and unlike most of the earlier ones, it is not a study of expression or emotion. Indeed, the face, though beautifully lit with evocative shadows, is almost expressionless. The painting is all about costume: the plumed cap, silk scarf, and jacket suggest that this might be an elegant sitter, perhaps even an historic personage. The painting is large and carefully finished, almost as though it were a demonstration piece. In 1629, Rembrandt had not yet received any portrait commissions, so this work might have been done to show off his talents.
On the other hand, by 1629, the twenty-three-year-old artist had already begun to attract critical attention. Self-portraits were a desirable collectible for sophisticated connoisseurs, especially since Rembrandt here wears a golden chain, which indicates the status or nobility of the painter’s profession, although he had not received any such decoration.
$32.00This soft, over-sized scarf will become your favorite take-along accessory. Ideal throughout hot-weather months thanks to its lightweight fabric, wear it as a shawl or wrap to cover your shoulders and torso; drape it over your legs at the dinner table, or simply wear it around your neck! At the beach, at the ballpark, around town or around your family, the Insect Shield summer scarf offers versatile protection from insects wherever you go, and however, you choose to wear it, or use it! The Insect Shield protection is built right in and lasts the expected lifetime of the product and repels mosquitoes, ticks, ants, flies, chiggers, and midges.
John Singer Sargent (American, 1856 - 1925), A Tent in the Rockies, about 1916
Sargent began many of his watercolors with careful pencil drawings that laid out the overall composition of each picture. If you look closely you can see traces of pencil in the folds of the tent’s opening. Light and shade effects, however, were rarely indicated through pencil under-drawings. Sargent would leave that to the skill of his brush in mixing colors, giving his watercolors their fresh beauty.
33 x 51 inches