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| Dimensions of the work | 55.9 cm x 71.1 cm |
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| Puzzle Dimensions | 50.8 x 63.5 cm |
| Box Dimensions | 33 x 25 x 5 cm |
| EAN | 9780764985058 |
5 reasons to choose our art puzzles
25,00€
25,00€
1 in stock
John Singer Sargent ‘s puzzle – The Sketchers – is one of the most fun and fascinating ways to discover Impressionist art piece by piece.
Thanks to this beautiful 1000-piece puzzle from the American brand Pomegranate, you can discover all the details of John Singer Sargent’s magnificent paintings.
The colors of the puzzle are very beautiful and manage to strongly convey the brilliance of the painting, enhancing its shapes and image.
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The John Singer Sargent puzzle – The Sketchers – is one of the most fun and fascinating ways to discover Impressionist art piece by piece. Thanks to this beautiful 1000-piece art puzzle from Pomegranate, you can discover the full emotional power and color density of the painter John Singer Sargent . The subject of the puzzle , The Sketchers , is a painting by American artist John Singer Sargent , created in 1913.
The Sketchers Puzzle, depicting the work of John Singer Sargent 1000 pieces of the Pomegranate brand is a fascinating example of Impressionist art .
John Singer Sargent traveled frequently with friends and enjoyed working outdoors in natural light. He created many impressionistic works of artist friends and family, which he called “painted diaries.”
In The Sketchers , Wilfrid de Glehn and Mary Foote are shown painting in an Italian olive grove.
The play of light on the ground, the parasol, and the figures reveal Sargent’s genius for capturing a moment in time and place.
 | Number of pieces 1000 |  | Brand Pomegranate |
 | Puzzle dimensions (cm) 50.8 x 63.5 |  | Box dimensions (cm) 33 x 25 x 5 |
Well finished box
Wonderful gift idea
Original work
Bright colors
1000 pieces
Standard grid
Painted near San Vigilio on the shores of Lake Garda in Italy, John Singer Sargent’s painting “The Sketchers” depicts two of Sargent’s drawing companions at work.
The man with his back to us is Wilfrid de Glehn (1870–1951), who, with his wife Jane, appears in many of Sargent’s studies. The woman in the photograph, long thought to be Jane, is almost certainly the American painter Mary Foote (1872–1968), who had known Jane since their student days in Paris.
Here, Sargent expresses his vision of what constitutes value in art : the world of nature brought to life on canvas through the observing eye of the artist.
The scene is bathed in warm sunlight and under the cool shade of the trees. We peer over Wilfred’s shoulder as he watches his work being created, and Sargent focuses on Mary’s gesture as she reaches toward her invisible canvas, brush in hand.
Sargent was famously cryptic about his methods, as if unable to put into words what, by training and instinct, he could do so naturally and quickly.
His teacher, Carolus Duran, believed in “Alla Prima” painting, wet on wet, all at once, without the laborious underpaintings typical of the time.
All Sargent needed was a charcoal setting of the light, the arrangement of the model and the main masses, over which he immediately began applying thick brushstrokes of paint.
John Singer Sargent liked to define himself as “ an American born in Italy, educated in France, who speaks English, looks like a German, and paints like a Spaniard .”
A cosmopolitan and multifaceted personality, he was born in Florence on January 12, 1856, to American parents. From an early age, he demonstrated a remarkable aptitude for painting and attended courses at the Academy of Fine Arts in Florence. Always with his suitcase packed, he traveled between Paris, Naples, Spain, Morocco, and Tunisia, before returning to Paris to enroll at the Ecole des Beaux-Arts.
His painting cannot be easily pigeonholed into a single school or movement. His works echo Impressionism, but also painters such as Velázquez , Titian, and El Greco, are evident.
His portraits are characterized by a strong psychological insight and a naturalistic rendering of features and details. The women he portrayed loved to pose, looking the viewer straight in the eye. Seductive and mysterious, they wore rich, precious clothes, and through the painter’s brushstrokes, one can easily hear the rustle of the fabrics enveloping their bodies, scented with powder and rouge.
The portrait he painted for Virginie Amelie Avegno Gautreau, known as Madame X , is famous and caused a scandal. Sargent considered it his masterpiece and was unpleasantly surprised when it caused a scandal: critics found it eccentric and erotic.
Such a revealing neckline was not uncommon, and black was a popular color for evening wear, as other portraits and clothing from the period attest. Therefore, it wasn’t the dress itself that drew criticism, but the way she wore it (with the boldly slipped shoulder pads and heavy makeup).
The portrait’s poor reception at the Paris Salon of 1884 soon prompted Sargent to leave France to seek patronage in England, where he found great success. In 1891, Gautreau had clearly changed his mind about the portrait when he commissioned a similar one from the French artist Gustave Courtois, which featured the same profile pose and the epaulette once again dropped.
After 1910 Sargent abandoned portraiture and devoted the rest of his life to mural painting and Alpine and Italian landscapes in watercolor.
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