On the edge of the Fenway, behind plain brick walls, stands one of the most remarkable buildings in Boston. Inside, a glass-roofed courtyard filled with flowers is surrounded by three stories of galleries in the style of a fifteenth-century Venetian palace. The rooms hold paintings, sculpture, furniture, textiles and rare books arranged exactly as their collector left them. The Isabella Stewart Gardner Museum is the creation of one determined woman, and it remains as personal and unusual today as when it opened more than a century ago.
Who Was Isabella Stewart Gardner?
Isabella Stewart was born in New York in 1840 to a wealthy family. In 1860 she married John Lowell Gardner Jr., known as Jack, a member of a prominent Boston family, and moved to Boston. The couple’s only child, a son, died in early childhood in 1865, and Isabella suffered a long period of grief and illness. On a doctor’s advice, the Gardners traveled to Europe, and travel became a lifelong passion.
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In Boston, Gardner developed a reputation as an independent and unconventional figure in a society known for its restraint. Stories about her, some exaggerated, circulated widely. She befriended artists, writers and musicians, and she studied art history seriously, attending lectures and reading widely.
Building a Collection
Gardner began collecting in earnest in the 1880s and 1890s, after receiving an inheritance from her father. Her early purchases included books, manuscripts and works by contemporary artists. She soon turned to Old Master paintings, working with the young art historian Bernard Berenson, who advised her on Italian Renaissance works.
Among her most important acquisitions was Titian’s Europa, purchased in 1896 and widely considered one of the greatest Italian paintings in the United States. Over the following years, she acquired works by Rembrandt, Vermeer, Botticelli, Raphael and many others, along with ancient sculpture, medieval objects, Asian art and decorative arts.
She also supported contemporary artists. John Singer Sargent painted her portrait in 1888, a work whose bold style caused a stir in Boston, and remained a close friend. His large painting El Jaleo, showing a Spanish dancer, became one of the museum’s most dramatic installations.
A Palace in the Fenway
Jack Gardner died in 1898. Soon after, Isabella bought land in the Fenway, then a newly developed area near the Back Bay Fens, and began building a museum to house the collection. She worked with architect Willard T. Sears, but the design was very much her own. She was deeply influenced by the Venetian palazzi she had visited, especially the Palazzo Barbaro, where the Gardners had stayed on their visits to Venice.
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The building included architectural elements she had collected in Europe, such as columns, arches, balconies and fountains, incorporated into new construction. The central courtyard, covered by a glass roof, brought light into the heart of the building and allowed plants to grow year-round. Gardner supervised the work closely, often directing workers herself.
The museum, originally called Fenway Court, opened with a celebration on New Year’s night, 1903, featuring a concert by members of the Boston Symphony Orchestra. Guests entered to find the courtyard illuminated and filled with flowers.
A Home and a Museum
Gardner lived on the top floor of the building, while the galleries below were opened to the public on a limited schedule. She continued to rearrange works, host musical performances and welcome artists. Sargent and other artists painted there.
The installation was deliberately personal. Instead of grouping works by period or school, as most museums did, she arranged paintings, furniture and objects together to create rooms with distinct atmospheres. Labels were minimal. Visitors were meant to experience the art as a whole environment rather than as a series of specimens.
A Will With Strict Rules
Gardner died in 1924. Her will established the museum “for the education and enjoyment of the public forever” and set strict conditions. The permanent collection was to remain arranged as she had left it. If works were moved, added or sold, the will provided that the entire collection would be sold and the proceeds given to Harvard University.
As a result, the galleries look very much as they did in her lifetime. This makes the museum unique: it preserves not only the art but also one collector’s vision of how art should be seen.
The 1990 Theft
In the early morning of March 18, 1990, two men disguised as police officers talked their way into the museum, tied up the guards and stole thirteen works of art. Among them were Vermeer’s The Concert and Rembrandt’s The Storm on the Sea of Galilee, his only known seascape. The theft is often described as the largest art theft in history by value.
Despite decades of investigation, the works have not been recovered. Because Gardner’s will prohibits rearranging the collection, the empty frames still hang in their original places, a haunting reminder of what was lost. The museum continues to offer a substantial reward for information leading to their return.
A New Wing
To accommodate modern needs without altering the historic building, the museum commissioned a new wing designed by architect Renzo Piano, which opened in 2012. It includes a concert hall, special exhibition galleries, a greenhouse, classrooms and visitor facilities. A glass passage connects the new building to the old palace, preserving Gardner’s original galleries while expanding what the museum can do.
The museum is also known for its contemporary artists-in-residence program, its courtyard displays of plants that change with the seasons and a long tradition of concerts. It offers free admission to anyone named Isabella, a playful nod to its founder.
A Vision Preserved
Isabella Stewart Gardner created something Boston had never seen and insisted that it stay that way. Her palace shows that preserving the past and inviting new ideas can coexist, a balance the city keeps striking as it reinvents itself.
Quick check: Why do empty frames still hang in the Gardner Museum?
- The paintings are on loan
- Gardner’s will prohibits rearranging the collection
- The frames are artworks themselves
Show answer
B. After the 1990 theft, the frames stayed in place because Gardner’s will requires the galleries to remain as she arranged them.