Josephine and Mercie, 1908 by Edmund Charles Tarbell
Canvas Print - 18066-TEC
Location: National Gallery of Art, Washington, USAOriginal Size: 71.4 x 81.4 cm
Giclée Canvas Print | $68.64 USD
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*Max printing size: 35.9 x 41.3 in
*Max framing size: Long side up to 28"
"Josephine and Mercie" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
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Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Josephine and Mercie" by Edmund Charles Tarbell, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Although painted in a moment of social upheaval in New England, this interior scene appears to embody a world quietly untroubled by the churn of history. Its soft lighting and careful arrangement draw the viewer into a realm of understated refinement, where two young women, Josephine and Mercie, occupy the room with poised composure. One is writing at a desk, hunched in concentration, while the other lounges with a book, forming a tranquil duo immersed in their separate pursuits. At first glance, there is a gentle insistence on portraying domestic comfort - but one quickly senses a deeper narrative of cultural continuity beneath the surface.
The painting’s deliberate composition underscores its interior harmony. Layers of diagonal lines - sloping from the girl at the desk toward her reading companion, echoed in the slant of the window frames and the angle of the furniture - knit the room together. These subtle, directed movements guide our eyes in a measured flow, preventing the image from dissolving into pure decoration. The walls, warm green in tone, establish a mellow background that makes the girls’ white dresses gleam. It is this quietly assured arrangement that communicates both stability and understated tension, acknowledging, perhaps, the changing world beyond these walls.
Crucial to that effect is the artist’s brushwork, which is tight enough to evoke realism yet soft enough to convey intimacy. Every texture - the polished wood of the desk, the folds of white fabric, the dappled lamplight - is subtly rendered, suggesting a painter who aims for clarity without the harshness of stark outlines. The influence of European Impressionism is visible, even as it is recast into a staunchly American context, reflecting a Boston School commitment to refined technique.
The color palette, with its measured interplay of white, green, and subdued gold, underscores the sense of calm. Light filters through the windows, illuminating the sitters’ dresses and echoing in the filmy curtains. If the painting’s palette had been more abrupt or jarring, the scene might have felt staged or artificial. Instead, the measured transitions of tone evoke the hush of a summer afternoon, seemingly frozen in time.
Set in a period of rapid change, when traditional hierarchies and inherited privileges were under constant pressure, this painting clings to a vision of American domestic life that appears rooted, perhaps even nostalgic. By placing his own daughters in the setting of his family home, the artist casts them as living embodiments of continuity and New England pride. Yet far from presenting mere ornaments, the figures engage in thoughtful, individual pursuits. They represent a new notion of educated, modern American womanhood, dressed in white but without theatrical innocence. Here, a comfortable living room becomes a testament to cultural identity, fixed in paint yet gently shifting with the times.
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