World Art and Music Activity 17 John Singleton Copley Answer Key

American painter (1856–1925)

John Singer Sargent
Sargent photographed by James E. Purdy in 1903
Built-in	(1856-01-12)January 12, 1856 Florence, Grand Duchy of Tuscany
Died	April 14, 1925(1925-04-fourteen) (aged 69) London, England
Resting identify	Brookwood Cemetery 51°17′52″N 0°37′29″West  /  51.297651°Due north 0.624693°W  / 51.297651; -0.624693
Nationality	American
Education	École nationale supérieure des Beaux-Arts
Known for	Painting
Notable piece of work	Portrait of Madame X El Jaleo The Daughters of Edward Darley Boit Carnation, Lily, Lily, Rose Lady Agnew of Lochnaw
Movement	Impressionism

John Singer Sargent (; January 12, 1856 – April 14, 1925)^[1] was an American departer artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury.^{[ii] [3]} He created roughly 900 oil paintings and more ii,000 watercolors, also as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Eye East, Montana, Maine, and Florida.

Built-in in Florence to American parents, he was trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim every bit a portrait painter. An early submission to the Paris Salon in the 1880s, his Portrait of Madame Ten, was intended to consolidate his position as a order painter in Paris, merely instead resulted in scandal. During the side by side year following the scandal, Sargent departed for England where he connected a successful career equally a portrait artist.

From the beginning, Sargent's piece of work is characterized by remarkable technical facility, particularly in his ability to draw with a castor, which in after years inspired adoration too as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In after life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his free energy to mural painting and working en plein air. Art historians generally ignored artists who painted Royalty and "Club" – such as Sargent – until the late 20th century.^[4]

Early life [edit]

Sargent is a descendant of Epes Sargent, a colonial military leader and jurist. Before John Vocalist Sargent'southward birth, his father, FitzWilliam (b. 1820 Gloucester, Massachusetts), was an eye surgeon at the Wills Centre Hospital in Philadelphia 1844–1854. Later John'due south older sis died at the historic period of two, his female parent, Mary Newbold Singer (née Singer, 1826–1906), suffered a breakdown, and the couple decided to go away to recover.^[one] They remained nomadic expatriates for the residuum of their lives.^{[5] [half dozen]} Although based in Paris, Sargent's parents moved regularly with the seasons to the ocean and the mountain resorts in French republic, Germany, Italian republic, and Switzerland.

While Mary was pregnant, they stopped in Florence, Tuscany, considering of a cholera epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her nascency, FitzWilliam reluctantly resigned his postal service in Philadelphia and accepted his wife's request to remain abroad.^[7] They lived modestly on a small inheritance and savings, leading a placidity life with their children. They generally avoided lodge and other Americans except for friends in the art world.^[8] Four more children were born abroad, of whom only ii lived by childhood.^[9]

Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more than interested in outdoor activities than his studies. As his father wrote home, "He is quite a shut observer of blithe nature."^[ten] His female parent was convinced that traveling around Europe, and visiting museums and churches, would requite young Sargent a satisfactory teaching. Several attempts to take him formally schooled failed, owing generally to their afoot life. His mother was a capable amateur creative person and his father was a skilled medical illustrator.^[11] Early on on, she gave him sketchbooks and encouraged drawing excursions. Sargent worked on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes.^[12] FitzWilliam had hoped that his son'south interest in ships and the sea might atomic number 82 him toward a naval career.

At xiii, his female parent reported that John "sketches quite nicely, & has a remarkably quick and right eye. If we could afford to requite him actually good lessons, he would shortly be quite a fiddling artist."^[13] At the age of thirteen, he received some watercolor lessons from Carl Welsch, a German mural painter.^[fourteen] Although his pedagogy was far from consummate, Sargent grew up to exist a highly literate and cosmopolitan young man, achieved in art, music, and literature.^[fifteen] He was fluent in English, French, Italian, and German. At seventeen, Sargent was described every bit "willful, curious, determined and strong" (after his mother) notwithstanding shy, generous, and small (later on his father).^[xvi] He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, "I take learned in Venice to admire Tintoretto immensely and to consider him perhaps second just to Michelangelo and Titian."^[17]

Training [edit]

An endeavor to study at the Academy of Florence failed, equally the schoolhouse was re-organizing at the time. After returning to Paris from Florence Sargent began his fine art studies with the young French portraitist Carolus-Duran. Following a meteoric rise, the creative person was noted for his bold technique and modern instruction methods; his influence would exist pivotal to Sargent during the catamenia from 1874 to 1878.^[18]

In 1874 Sargent passed on his first attempt the rigorous exam required to gain admission to the École des Beaux-Arts, the premier art school in France. He took drawing classes, which included anatomy and perspective, and gained a silver prize.^{[eighteen] [xix]} He likewise spent much time in self-written report, drawing in museums and painting in a studio he shared with James Carroll Beckwith. He became both a valuable friend and Sargent'due south principal connectedness with the American artists abroad.^[20] Sargent also took some lessons from Léon Bonnat.^[xix]

Carolus-Duran'southward atelier was progressive, dispensing with the traditional academic approach, which required careful cartoon and underpainting, in favor of the alla prima method of working directly on the canvas with a loaded castor, derived from Diego Velázquez. It was an approach that relied on the proper placement of tones of paint.^[21]

This approach also permitted spontaneous flourishes of color non leap to an nether-drawing. It was markedly different from the traditional atelier of Jean-Léon Gérôme, where Americans Thomas Eakins and Julian Alden Weir had studied. Sargent was the star educatee in curt social club. Weir met Sargent in 1874 and noted that Sargent was "one of the virtually talented fellows I accept ever come across; his drawings are like the old masters, and his color is equally fine."^[twenty] Sargent's fantabulous command of French and his superior talent made him both popular and admired. Through his friendship with Paul César Helleu, Sargent would meet giants of the art world, including Degas, Rodin, Monet, and Whistler.

Sargent'south early on enthusiasm was for landscapes, not portraiture, every bit evidenced past his voluminous sketches total of mountains, seascapes, and buildings.^[22] Carolus-Duran's expertise in portraiture finally influenced Sargent in that direction. Commissions for history paintings were still considered more prestigious, just were much harder to get. Portrait painting, on the other mitt, was the all-time way of promoting an fine art career, getting exhibited in the Salon, and gaining commissions to earn a livelihood.

Sargent'due south outset major portrait was of his friend Fanny Watts in 1877, and was as well his first Salon admission. Its especially well-executed pose drew attention.^[22] His 2nd salon entry was the Oyster Gatherers of Cançale, an impressionistic painting of which he fabricated two copies, one of which he sent back to the United States, and both received warm reviews.^[23]

Early career [edit]

In 1879, at the age of 23, Sargent painted a portrait of teacher Carolus-Duran; the virtuoso effort met with public approval and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions.^[24] Of Sargent's early on work, Henry James wrote that the creative person offered "the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has zippo more to larn."^[25]

Afterwards leaving Carolus-Duran's atelier, Sargent visited Espana. There he studied the paintings of Velázquez with a passion, absorbing the master's technique, and in his travels gathered ideas for hereafter works.^[26] He was entranced with Spanish music and dance. The trip too re-awakened his own talent for music (which was about equal to his artistic talent), and which found visual expression in his early masterpiece El Jaleo (1882). Music would keep to play a major part in his social life too, as he was a skillful accompanist of both amateur and professional musicians. Sargent became a stiff advocate for mod composers, especially Gabriel Fauré.^[27] Trips to Italia provided sketches and ideas for several Venetian street scenes genre paintings, which effectively captured gestures and postures he would detect useful in later on portraiture.^[28]

Upon his return to Paris, Sargent quickly received several portrait commissions. His career was launched. He immediately demonstrated the concentration and stamina that enabled him to paint with workman-like steadiness for the next xx-five years. He filled in the gaps betwixt commissions with many non-deputed portraits of friends and colleagues. His fine manners, perfect French, and swell skill made him a standout among the newer portraitists, and his fame rapidly spread. He confidently gear up loftier prices and turned downwardly unsatisfactory sitters.^[29] He mentored his friend Emil Fuchs who was learning to paint portraits in oils.^[thirty]

Works [edit]

Portraits [edit]

Nineteenth-century portraits [edit]

In the early 1880s, Sargent regularly exhibited portraits at the Salon, and these were mostly full-length portrayals of women, such as Madame Edouard Pailleron (1880) (washed en plein-air) and Madame Ramón Subercaseaux (1881). He connected to receive positive critical notice.^[31]

Sargent's all-time portraits reveal the individuality and personality of the sitters; his most agog admirers retrieve he is matched in this only by Velázquez, who was 1 of Sargent'south swell influences. The Castilian primary's spell is apparent in Sargent'due south The Daughters of Edward Darley Boit, 1882, a haunting interior that echoes Velázquez's Las Meninas.^[32] Equally in many of his early portraits, Sargent confidently tries different approaches with each new challenge, here employing both unusual composition and lighting to striking effect. Ane of his most widely exhibited and all-time loved works of the 1880s was The Lady with the Rose (1882), a portrait of Charlotte Burckhardt, a close friend and possible romantic zipper.^[33]

Portrait of Madame X 1884

His nearly controversial work, Portrait of Madame X (Madame Pierre Gautreau) (1884) is now considered 1 of his best works, and was the artist's personal favorite; he stated in 1915, "I suppose information technology is the best thing I have washed."^[34] When unveiled in Paris at the 1884 Salon, it angry such a negative reaction that it probable prompted Sargent's move to London. Sargent's self-confidence had led him to attempt a risque experiment in portraiture—but this time information technology unexpectedly backfired.^[35] The painting was not commissioned by her and he pursued her for the opportunity, quite unlike most of his portrait work where clients sought him out. Sargent wrote to a common acquaintance:

I take a great desire to paint her portrait and have reason to call back she would allow it and is waiting for someone to propose this homage to her beauty. ...you might tell her that I am a man of biggy talent.^[36]

It took well over a year to complete the painting.^[37] The first version of the portrait of Madame Gautreau, with the famously plunging neckline, white-powdered skin, and arrogantly cocked head, featured an intentionally suggestive off-the-shoulder dress strap, on her right side merely, which made the overall effect more daring and sensual.^[38] Sargent repainted the strap to its expected over-the-shoulder position to endeavor to dampen the furor, merely the damage had been washed. French commissions dried up and he told his friend Edmund Gosse in 1885 that he contemplated giving upwardly painting for music or business.^[39]

Writing of the reaction of visitors, Judith Gautier observed:

Is it a adult female? a chimera, the figure of a unicorn rearing as on a heraldic coat of artillery or possibly the piece of work of some oriental decorative artist to whom the human form is forbidden and who, wishing to be reminded of woman, has fatigued the succulent arabesque? No, it is none of these things, just rather the precise image of a modern woman scrupulously fatigued past a painter who is a chief of his fine art."^[xl]

Prior to the Madame X scandal of 1884, Sargent had painted exotic beauties such equally Rosina Ferrara of Capri, and the Spanish expatriate model Carmela Bertagna, but the before pictures had not been intended for wide public reception. Sargent kept the painting prominently displayed in his London studio until he sold information technology to the Metropolitan Museum of Art in 1916 after moving to the United States, and a few months afterwards Gautreau's death.

Before arriving in England, Sargent began sending paintings for exhibition at the Majestic Academy. These included the portraits of Dr. Pozzi at Dwelling house (1881), a flamboyant essay in red and his first full-length male person portrait, and the more than traditional Mrs. Henry White (1883). The ensuing portrait commissions encouraged Sargent to complete his move to London in 1886. Notwithstanding the Madame X scandal, he had considered moving to London every bit early on as 1882; he had been urged to exercise so repeatedly by his new friend, the novelist Henry James. In hindsight his transfer to London may be seen to have been inevitable.^[41]

English critics were not warm at showtime, faulting Sargent for his "clever" "Frenchified" handling of paint. One reviewer seeing his portrait of Mrs. Henry White described his technique as "hard" and "near metallic" with "no taste in expression, air, or modeling." With help from Mrs. White, however, Sargent soon gained the admiration of English patrons and critics.^[42] Henry James also gave the creative person "a button to the best of my ability."^[43]

Sargent spent much time painting outdoors in the English countryside when not in his studio. On a visit to Monet at Giverny in 1885, Sargent painted 1 of his near Impressionistic portraits, of Monet at piece of work painting outdoors with his new bride nearby. Sargent is normally not thought of equally an Impressionist painter, merely he sometimes used impressionistic techniques to great effect. His Claude Monet Painting at the Edge of a Wood is rendered in his own version of the Impressionist style. In the 1880s, he attended the Impressionist exhibitions and he began to pigment outdoors in the plein-air manner after that visit to Monet. Sargent purchased four Monet works for his personal collection during that time.^[44]

Sargent was similarly inspired to do a portrait of his artist friend Paul César Helleu, also painting outdoors with his wife by his side. A photograph very like to the painting suggests that Sargent occasionally used photography as an aid to limerick.^[45] Through Helleu, Sargent met and painted the famed French sculptor Auguste Rodin in 1884, a rather somber portrait reminiscent of works past Thomas Eakins.^[46] Although the British critics classified Sargent in the Impressionist camp, the French Impressionists thought otherwise. As Monet later stated, "He is not an Impressionist in the sense that we employ the discussion, he is too much nether the influence of Carolus-Duran."^[47]

Sargent's first major success at the Royal Academy came in 1887, with the enthusiastic response to Carnation, Lily, Lily, Rose, a large slice, painted on site, of two young girls lighting lanterns in an English language garden in Broadway in the Cotswolds. The painting was immediately purchased by the Tate Gallery.

His first trip to New York and Boston equally a professional artist in 1887–88 produced over 20 important commissions, including portraits of Isabella Stewart Gardner, the famed Boston art patron. His portrait of Mrs. Adrian Iselin, wife of a New York businessman, revealed her grapheme in one of his most insightful works. In Boston, Sargent was honored with his first solo exhibition, which presented 22 of his paintings.^[48] Here he became friends with painter Dennis Miller Bunker, who traveled to England in the summertime of 1888 to pigment with him en plein air, and is the subject field of Sargent's 1888 painting Dennis Miller Bunker Painting at Calcot.

Back in London, Sargent was quickly busy again. His working methods were by then well-established, following many of the steps employed past other master portrait painters before him. Subsequently securing a commission through negotiations which he carried out, Sargent would visit the customer'south dwelling to see where the painting was to hang. He would often review a client's wardrobe to pick suitable attire. Some portraits were done in the client'due south home, just more oftentimes in his studio, which was well-stocked with furniture and background materials he chose for proper effect.^[49] He usually required eight to x sittings from his clients, although he would try to capture the face up in 1 sitting. He commonly kept up pleasant conversation and sometimes he would take a break and play the piano for his sitter. Sargent seldom used pencil or oil sketches, and instead laid downwards oil paint directly.^[l] Finally, he would select an appropriate frame.

Sargent had no administration; he handled all the tasks, such as preparing his canvases, varnishing the painting, arranging for photography, shipping, and documentation. He allowable about $5,000 per portrait, or about $130,000 in current dollars.^[51] Some American clients traveled to London at their own expense to have Sargent paint their portrait.

Morning Walk, 1888, private collection

Clementina Anstruther-Thomson, 1889

Around 1890, Sargent painted 2 daring non-deputed portraits as show pieces—one of actress Ellen Terry equally Lady Macbeth and ane of the pop Spanish dancer La Carmencita.^[52] Sargent was elected an acquaintance of the Imperial Academy, and was made a full member three years after. In the 1890s, he averaged fourteen portrait commissions per yr, none more beautiful than the genteel Lady Agnew of Lochnaw, 1892. His portrait of Mrs. Hugh Hammersley (Mrs. Hugh Hammersley, 1892) was as well received for its lively depiction of one of London's near notable hostesses. Every bit a portrait painter in the grand fashion, Sargent had unmatched success; he portrayed subjects who were at once ennobled and often possessed of nervous energy. Sargent was referred to as "the Van Dyck of our times."^[53] Although Sargent was an American expatriate, he returned to the The states many times, often to respond the demand for commissioned portraits.

Sargent exhibited 9 of his portraits in the Palace of Fine Arts at the 1893 Earth's Columbian Exposition in Chicago.^[54]

Sargent painted a series of three portraits of Robert Louis Stevenson. The second, Portrait of Robert Louis Stevenson and his Wife (1885), was one of his best known.^[55] He also completed portraits of two U.S. presidents: Theodore Roosevelt and Woodrow Wilson.

Asher Wertheimer, a wealthy Jewish art dealer living in London, commissioned from Sargent a series of a dozen portraits of his family unit, the artist'southward largest committee from a single patron.^[56] The Wertheimer portraits reveal a pleasant familiarity between the artist and his subjects. Wertheimer bequeathed almost of the paintings to the National Gallery.^[57] In 1888, Sargent released his portrait of Alice Vanderbilt Shepard, great-granddaughter of Cornelius Vanderbilt.^[58] Many of his virtually important works are in museums in the United States. In 1897, a friend sponsored a famous portrait in oil of Mr. and Mrs. I. N. Phelps Stokes, by Sargent, equally a wedding gift.^{[59] [threescore]}

Twentieth century portraits [edit]

Sargent emphasized Almina Wertheimer'south exotic beauty in 1908 by dressing her en turquerie.

Repose. John Vocaliser Sargent. 1911

By 1900, Sargent was at the height of his fame. Cartoonist Max Beerbohm completed one of his seventeen caricatures of Sargent, making well known to the public the artist's paunchy physique.^{[61] [62]} Although only in his forties, Sargent began to travel more and to devote relatively less time to portrait painting. His An Interior in Venice (1900), a portrait of iv members of the Curtis family in their elegant deluxe home, Palazzo Barbaro, was a resounding success. Only, Whistler did non approve of the looseness of Sargent's brushwork, which he summed up as "smudge everywhere."^[63] 1 of Sargent's terminal major portraits in his bravura style was that of Lord Ribblesdale, in 1902, finely attired in an elegant hunting uniform. Between 1900 and 1907, Sargent continued his loftier productivity, which included, in addition to dozens of oil portraits, hundreds of portrait drawings at nigh $400 each.^[64]

In 1907, at the age of l-one, Sargent officially closed his studio. Relieved, he stated, "Painting a portrait would exist quite amusing if 1 were not forced to talk while working…What a nuisance having to entertain the sitter and to look happy when one feels wretched."^[65] In that same twelvemonth, Sargent painted his modest and serious self-portrait, his last, for the celebrated self-portrait collection of the Uffizi Gallery in Florence, Italy.^[66]

Sargent made several summer visits to the Swiss Alps with his sisters Emily and Violet (Mrs Ormond) and Violet's daughters Rose-Marie and Reine, who were the subject of a number of paintings 1906–1913.^[67]

As Sargent wearied of portraiture he pursued architectural and landscapes subjects. During a visit to Rome in 1906 Sargent fabricated an oil painting and several pencil sketches of the exterior staircase and balustrade in front of the Church of Saints Dominic and Sixtus, now the church of the Pontifical University of Saint Thomas Aquinas, Angelicum. The double staircase built in 1654 is the design of architect and sculptor Orazio Torriani (fl.1602–1657). In 1907 he wrote: "I did in Rome a study of a magnificent curved staircase and balustrade, leading to a grand facade that would reduce a millionaire to a worm...."^[68] The painting at present hangs at the Ashmolean Museum at Oxford University and the pencil sketches are in the collection of the Harvard University art collection of the Fogg Museum.^[69] Sargent later used the architectural features of this stair and balustrade in a portrait of Charles William Eliot, President of Harvard University from 1869 to 1909.^[70]

Sargent's fame was yet considerable and museums eagerly bought his works. That twelvemonth he declined a knighthood and decided instead to continue his American citizenship. From 1907^[71] on, Sargent largely forsook portrait painting and focused on landscapes. He fabricated numerous visits to the United States in the last decade of his life, including a stay of two full years from 1915 to 1917.^[72] In Apr 1917 Sargent was visiting the Miami estate of James Deering and was invited to cruise the Florida Keys with James and his brother Charles Deering aboard James' yacht Nepenthe. Sargent was much more interested in the "mine of sketching" that was the estate, not at all interested in fishing, and made the cruise "reluctantly," doing some watercolor sketches (including Derelicts, 1917).^[73]

By the time Sargent finished his portrait of John D. Rockefeller in 1917, most critics began to consign him to the masters of the past, "a bright ambassador between his patrons and posterity." Modernists treated him more than harshly, considering him completely out of touch with the reality of American life and with emerging artistic trends including Cubism and Futurism.^[74] Sargent quietly accepted the criticism, just refused to alter his negative opinions of modernistic art. He retorted, "Ingres, Raphael and El Greco, these are now my admirations, these are what I similar."^[75] In 1925, shortly earlier he died, Sargent painted his last oil portrait, a canvas of Grace Curzon, Marchioness Curzon of Kedleston. The painting was purchased in 1936 by the Currier Museum of Art, where it is on display.^[76]

Watercolors [edit]

Gondoliers' Siesta, c. 1904, watercolor

During Sargent's long career, he painted more than two,000 watercolors, roving from the English language countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night.

His hundreds of watercolors of Venice are peculiarly notable, many washed from the perspective of a gondola. His colors were sometimes extremely brilliant and as one reviewer noted, "Everything is given with the intensity of a dream."^[77] In the Eye E and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the concluding decade of his life, he produced many watercolors in Maine, Florida, and in the American Westward, of beast, flora, and native peoples.

Muddy Alligators, 1917, watercolor

With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. And it is in some of his tardily works where i senses Sargent painting nearly purely for himself. His watercolors were executed with a blithesome fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that immune for a more bright palette and experimental handling than did his commissions (The Chess Game, 1906).^[78] His first major solo showroom of watercolor works was at the Carfax Gallery in London in 1905.^[79] In 1909, he exhibited eighty-six watercolors in New York City, 80-three of which were bought past the Brooklyn Museum.^[80] Evan Charteris wrote in 1927:

To live with Sargent's h2o-colours is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the apex.'^[81]

Although non generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer.^[82]

Theodore Roosevelt, 1903. Sargent had Roosevelt hold his pose when he turned around with impatience to address the artist while they were walking around the White Business firm surveying possible locations for the portrait.^[83]

Other piece of work [edit]

Every bit a concession to the clamorous demand of wealthy patrons for portraits, Sargent dashed off hundreds of rapid charcoal portrait sketches, which he called "Mugs". Forty-six of these, spanning the years 1890–1916, were exhibited at the Majestic Gild of Portrait Painters in 1916.^[84]

All of Sargent's murals are to be found in the Boston/Cambridge area. They are in the Boston Public Library, the Museum of Fine Arts, and Harvard's Widener Library. Sargent's largest scale works are the mural decorations that grace the Boston Public Library depicting the history of faith and the gods of polytheism.^[85] They were attached to the walls of the library by means of marouflage. He worked on the bicycle for almost thirty years merely never completed the final mural. Sargent drew on his extensive travels and museum visits to create a dense art historial melange. The murals were restored in 2003–2004.^[86]

Sargent worked on the murals from 1895 through 1919; they were intended to show organized religion's (and society'southward) progress, from infidel superstition upwardly through the ascension of Christianity, terminal with a painting depicting Jesus delivering the Sermon on the Mountain. Simply Sargent'south paintings of "The Church building" and "The Synagogue", installed in late 1919, inspired a contend about whether the artist had represented Judaism in a stereotypical, or fifty-fifty an anti-Semitic, style.^[87] Drawing upon iconography that was used in medieval paintings, Sargent portrayed Judaism and the synagogue as a blind, ugly hag, and Christianity and the church every bit a lovely, radiant immature adult female. He likewise failed to empathize how these representations might be problematic for the Jews of Boston; he was both surprised and hurt when the paintings were criticized.^[88] The paintings were objectionable to Boston Jews since they seemed to show Judaism defeated, and Christianity triumphant.^[89] The Boston newspapers also followed the controversy, noting that while many found the paintings offensive, non everyone was in agreement. In the end, Sargent abandoned his programme to finish the murals, and the controversy somewhen died downward.

Upon his return to England in 1918 after a visit to the United states, Sargent was deputed as a state of war artist past the British Ministry building of Information. In his large painting Gassed and in many watercolors, he depicted scenes from the Smashing War.^[90] Sargent had been affected by the decease of his niece Rose-Marie in the shelling of the St Gervais church, Paris, on Good Friday 1918.^[67]

Relationships and personal life [edit]

Sargent was a lifelong bachelor with a broad circumvolve of friends including both men and women such as Oscar Wilde (whom he was neighbors with for several years ^[91]), lesbian author Violet Paget,^[92] and his likely lover Albert de Belleroche. Biographers once portrayed him as staid and reticent.^[93] However, contempo scholarship has speculated that he was a homosexual man, as he had devoted significant time to renderings of nude male figure studies.^{[94] [95]} This view is based on statements by his friends and associations, the overall alluring remoteness of his portraits, the way his works challenge 19th-century notions of gender divergence,^[96] his previously ignored male nudes, and some nude male portraits, including those of Thomas E. McKeller, Bartholomy Maganosco, Olimpio Fusco,^[97] and that of aristocratic artist Albert de Belleroche, which hung in his Chelsea dining room.^{[98] [99]} Sargent had a long friendship with Belleroche, whom he met in 1882 and traveled with oftentimes. A surviving drawing speculatively may hint that Sargent might have used him as a model for Madame X, following a coincidence of dates for Sargent drawing each of them separately around the aforementioned time,^[100] and the frail pose suggestive more than of Sargent'south sketches of the male form than his often stiff commissions.

It has been suggested that Sargent'southward reputation in the 1890s as "the painter of the Jews" may take been due to his empathy with, and complicit enjoyment of their mutual social otherness.^[94] There is some evidence to conclude Sargent's potential homosexuality; 1 such Jewish client, Betty Wertheimer, wrote that when in Venice, Sargent "was just interested in the Venetian gondoliers".^{[94] [101]} The painter Jacques-Émile Blanche, who was 1 of his early sitters, said later on Sargent'due south decease that his sex life "was notorious in Paris, and in Venice, positively scandalous. He was a frenzied bugger."^[102]

There were many relationships with women: information technology has been suggested that those with his sitters Rosina Ferrara, Virginie Gautreau, and Judith Gautier may take tipped into infatuation.^[103] As a young man, Sargent also courted for a fourth dimension Louise Burkhardt, the model for Lady with the Rose.^[104]

Sargent's friends and supporters included Henry James, Isabella Stewart Gardner (who commissioned and purchased works from Sargent, and sought his advice on other acquisitions),^[105] Edward VII,^[106] and Paul César Helleu. His associations also included Prince Edmond de Polignac and Count Robert de Montesquiou. Other artists Sargent associated with were Dennis Miller Bunker, James Carroll Beckwith, Edwin Austin Abbey and John Elliott (who also worked on the Boston Public Library murals), Francis David Millet, Joaquín Sorolla and Claude Monet, whom Sargent painted. Betwixt 1905 and 1914, Sargent'south frequent traveling companions were the married artist couple Wilfrid de Glehn and Jane Emmet de Glehn. The trio would often spend summers in France, Spain or Italy, and all iii would depict ane some other in their paintings during their travels.^[107]

• 

Critical cess [edit]

Arsène Vigeant, 1885, Musées de Metz

In a time when the art earth focused, in plow, on Impressionism, Fauvism, and Cubism, Sargent adept his own form of Realism, which made brilliant references to Velázquez, Van Dyck, and Gainsborough. His seemingly effortless facility for paraphrasing the masters in a contemporary fashion led to a stream of commissioned portraits of remarkable virtuosity (Arsène Vigeant, 1885, Musées de Metz; Mr. and Mrs. Isaac Newton Phelps-Stokes, 1897, Metropolitan Museum of Art, New York) and earned Sargent the moniker, "the Van Dyck of our times."^[108]

Nevertheless, during his life his work engendered negative responses from some of his colleagues: Camille Pissarro wrote "he is non an enthusiast merely rather an adroit performer,"^[109] and Walter Sickert published a satirical turn under the heading "Sargentolatry."^[80] By the time of his death he was dismissed as an anachronism, a relic of the Gilded Historic period and out of step with the creative sentiments of mail-World War I Europe. Elizabeth Prettejohn suggests that the decline of Sargent's reputation was due partly to the rising of anti-Semitism, and the resultant intolerance of 'celebrations of Jewish prosperity.'^[110] Information technology has been suggested that the exotic qualities^[111] inherent in his piece of work appealed to the sympathies of the Jewish clients whom he painted from the 1890s on.

Nowhere is this more apparent than in his portrait Almina, Daughter of Asher Wertheimer (1908), in which the subject is seen wearing a Persian costume, a pearl encrusted turban, and strumming an Indian tambura, accoutrements all meant to convey sensuality and mystery. If Sargent used this portrait to explore issues of sexuality and identity, information technology seems to accept met with the satisfaction of the subject area's father, Asher Wertheimer, a wealthy Jewish art dealer.^[56]

Foremost of Sargent'southward detractors was the influential English art critic Roger Fry, of the Bloomsbury Group, who at the 1926 Sargent retrospective in London dismissed Sargent'due south piece of work as defective aesthetic quality: "Wonderful indeed, but most wonderful that this wonderful performance should e'er accept been confused with that of an artist."^[110] And, in the 1930s, Lewis Mumford led a chorus of the severest critics: "Sargent remained to the end an illustrator ... the nigh adroit appearance of workmanship, the about dashing eye for result, cannot conceal the essential emptiness of Sargent's mind, or the contemptuous and cynical superficiality of a certain role of his execution."

Part of Sargent's devaluation is also attributed to his expatriate life, which made him seem less American at a time when "accurate" socially conscious American art, as exemplified by the Stieglitz circle and by the Ashcan Schoolhouse, was on the ascent.^[112]

After such a long period of critical disfavor, Sargent's reputation has increased steadily since the 1950s.^[4] In the 1960s, a revival of Victorian fine art and new scholarship directed at Sargent strengthened his reputation.^[113] Sargent has been the subject area of large-scale exhibitions in major museums, including a retrospective exhibition at the Whitney Museum of American Fine art in 1986, and a major 1999 traveling prove that exhibited at the Museum of Fine Arts, Boston, the National Gallery of Art Washington, and the National Gallery, London.

In 1986, Andy Warhol commented to Sargent scholar Trevor Fairbrother that Sargent "made everybody await glamorous. Taller. Thinner. Simply they all accept mood, every one of them has a different mood."^{[114] [115]} In a Fourth dimension magazine article from the 1980s, critic Robert Hughes praised Sargent as "the unrivaled recorder of male person power and female dazzler in a day that, like ours, paid excessive court to both." ^[116]

Later life [edit]

In 1922 Sargent co-founded New York City'south Grand Primal Art Galleries together with Edmund Greacen, Walter Leighton Clark, and others.^[117] Sargent actively participated in the M Central Art Galleries and their university, the Grand Central Schoolhouse of Art, until his death in 1925. The Galleries held a major retrospective showroom of Sargent's piece of work in 1924.^[118] He and so returned to England, where he died at his Chelsea dwelling on Apr 14, 1925, of heart illness.^[118] Sargent is interred in Brookwood Cemetery near Woking, Surrey.^[119]

Memorial exhibitions of Sargent'due south work were held in Boston in 1925, at the Metropolitan Museum of Art in New York and at the Royal Academy and Tate Gallery in London in 1926.^[120] The Grand Central Fine art Galleries also organized a posthumous exhibition in 1928 of previously unseen sketches and drawings from throughout his career.^[121]

Sales [edit]

Portrait of Robert Louis Stevenson and his Wife was sold in 2004 for United states$viii.8 million^[122] and is located at Crystal Bridges Museum of American Art at Bentonville, Arkansas.

In Dec 2004, Group with Parasols (A Siesta) (1905) sold for Usa$23.5 meg, nearly double the Sotheby'southward gauge of $12 million. The previous highest price for a Sargent painting was U.s.$eleven million.^[123]

In popular culture [edit]

In 2018, Comedy Fundamental star Jade Esteban Estrada wrote, directed and starred in Madame X: A Burlesque Fantasy, a story based on the life of Sargent and his famous painting, Portrait of Madame X.^[124]

The works of Sargent feature prominently in Maggie Stiefvater's 2021 novel Mister Impossible.

Citations [edit]

1. ^ ^{a b} "John Vocalizer Sargent". Biography.com. Archived from the original on September 25, 2018. Retrieved September 25, 2018.
2. ^ "While his art matched to the spirit of the age, Sargent came into his own in the 1890s as the leading portrait painter of his generation". Ormond, p. 34, 1998.
3. ^ "At the fourth dimension of the Wertheimer commission Sargent was the most historic, sought-afterward and expensive portrait painter in the world". New Orleans Museum of Art Archived April twenty, 2008, at the Wayback Auto
4. ^ ^{a b} Schulze, Franz (1980). "J. S. Sargent, Partly Peachy". Fine art in America. Vol. 68, no. 2. pp. xc–96.
5. ^ Olson, Stanley (1986). John Singer Sargent: His Portrait. New York City: St. Martin's Press. p. 1. ISBN0-312-44456-7.
6. ^ Wilson, J. G.; Fiske, J., eds. (1900). "Sargent, Paul Dudley". Appletons' Cyclopædia of American Biography. New York: D. Appleton.
7. ^ Olson, p. 2.
8. ^ Olson, p. 4.
9. ^ Fairbrother, Trevor (1994). John Singer Sargent. New York City: Harry Northward. Abrams. p. eleven. ISBN0-8109-3833-2.
10. ^ Olson, p. ix.
11. ^ Olson, p. 10.
12. ^ Olson, p. 15.
13. ^ Olson, p. 18.
14. ^ Carl Little, The Watercolors of John Vocaliser Sargent, Berkeley: Academy of California Press, 1998, p. seven, ISBN 0-520-21969-4
15. ^ Olson, p. 23
16. ^ Olson, p. 27.
17. ^ Olson, p. 29.
18. ^ ^{a b} Fairbrother, p. 13.
19. ^ ^{a b} Piffling, p. vii.
20. ^ ^{a b} Olson, p. 46.
21. ^ Elizabeth Prettejohn: Interpreting Sargent, p. ix. Stewart, Tabori & Chang, 1998.
22. ^ ^{a b} Olson, p. 55.
23. ^ Fairbrother, p. 16.
24. ^ Prettejohn, p. 14, 1998.
25. ^ Prettejohn, p. thirteen, 1998.
26. ^ Olson, p. 70.
27. ^ Olson, p. 73.
28. ^ Fairbrother, p. 33.
29. ^ Olson, p. 80.
30. ^ "Emil Fuchs papers 1880–1931" (PDF). Brooklyn Museum.
31. ^ Ormond, Richard: "Sargent's Art", John Singer Sargent, pp. 25–7. Tate Gallery, 1998.
32. ^ Ormond, p. 27, 1998.
33. ^ Fairbrother, p. 40.
34. ^ Richard Ormand and Elaine Kilmurray, Sargent: The Early on Portraits, New Haven: Yale University Printing, 1998, p. 114, ISBN 0-300-07245-7
35. ^ Fairbrother, p. 45.
36. ^ Olson, p. 102.
37. ^ Ormand and Kilmurray, p. 113.
38. ^ Fairbrother, p. 47.
39. ^ Fairbrother, p. 55.
40. ^ Cited in Ormond, pp. 27–viii, 1998.
41. ^ Ormond, p. 28, 1998.
42. ^ Fairbrother, p. 43.
43. ^ Olson, p. 107.
44. ^ Fairbrother, p. 61.
45. ^ Olson, plate 18
46. ^ Ormand and Kilmurray, p. 151.
47. ^ Fairbrother, p. 68.
48. ^ Fairbrother, pp. 70–2.
49. ^ Olson, p. 223.
50. ^ Ormand and Kilmurray, p. xxiii.
51. ^ Fairbrother, p. 76, price updated by CPI reckoner to 2008 at information.bls.gov
52. ^ Fairbrother, p. 79.
53. ^ Ormond, pp. 28–35, 1998.
54. ^ John Singer Sargent at the World's Columbian Exposition, World's Fair Chicago 1893
55. ^ "Robert Louis Stevenson and His Wife". JSS Virtual Gallery. Retrieved July 27, 2017.
56. ^ ^{a b} Ormond, pp. 169–171, 1998.
57. ^ Ormond, p. 148, 1998.
58. ^ Exhibit at the Amon Carter Museum in Fort Worth, Texas
59. ^ "John Vocalizer Sargent 1856–1925. Mr and Mrs IN Phelps Stokes 1897, Oil on canvas". Studios and portraits – Queensland Art Gallery – Gallery of Modern Fine art. Archived from the original on July 20, 2011. Retrieved September 3, 2011.
60. ^ "Mr. and Mrs. I. N. Phelps Stokes, 1897, by John Singer Sargent (American, 1856–1925). Oil on canvass". Heilbrunn Timeline of Fine art History, The Metropolitan Museum of Art. 2011. Retrieved September three, 2011.
61. ^ Fairbrother, p. 97.
62. ^ Trivial, p. 12.
63. ^ Fairbrother, p. 101.
64. ^ Fairbrother, p. 118.
65. ^ Olson, p. 227.
66. ^ Fairbrother, p. 124.
67. ^ ^{a b} McCouat, Philip. "ROSE-MARIE ORMOND SARGENT'S MUSE AND "THE Almost CHARMING Girl THAT EVER LIVED"". Journal of Art in Guild . Retrieved July 8, 2020.
68. ^ Eustace, Katharine (1999). Twentieth C. Paintings in Asholeum Museum. pp. 17–19. ISBN978-i-85444-117-1.
69. ^ "Sketch of a Balustrade, San Domenico eastward Sisto, Rome".
70. ^ "Archived copy". Archived from the original on June xiv, 2012. Retrieved February 24, 2013. {{cite web}}: CS1 maint: archived copy as championship (link)
71. ^ "In the history of portraiture there is no other instance of a major figure abandoning his profession and shutting upward shop in such a peremptory mode." Ormond, Page 38, 1998.
72. ^ Kilmurray, Elaine: "Chronology of Travels", Sargent Away, page 242. Abbeville Press, 1997.
73. ^ Madsen, Annelise K.; Ormond, Richard; Broadway, Mary (2018). John Singer Sargent & Chicago'south Gilt Age. Chicago, Illinois: The Fine art Constitute of Chicago. p. 112. ISBN978-0-300-23297-4. LCCN 2017056054. Retrieved September 2, 2018.
74. ^ Fairbrother, p. 131.
75. ^ Fairbrother, p. 133.
76. ^ "EmbARK Spider web Kiosk". Archived from the original on September 28, 2007.
77. ^ Little, p. 11.
78. ^ Prettejohn, pp. 66–69, 1998.
79. ^ Fairbrother, p. 148.
80. ^ ^{a b} Ormond, p. 276, 1998.
81. ^ Little, p. 110.
82. ^ Little, p. 17.
83. ^ "John Vocaliser Sargent's President Theodore Roosevelt". www.jssgallery.org.
84. ^ "Exhibitions – 1916, Majestic Society of Portrait Painters, hosted at the Grafton Galleries". www.jssgallery.org.
85. ^ The Sargent Murals at the Boston Public Library Archived June two, 2005, at the Wayback Machine
86. ^ John Vocalist Sargent'southward "Triumph of Religion" at the Boston Public Library: Creation and Restoration, Ed. Narayan Khandekar, Gianfranco Pocobene, and Kate Smith, Cambridge, MA: Harvard Art Museum, and New Oasis: Yale Academy Printing, 2009.
87. ^ "New Painting at Public Library Stirs Jews to Vigorous Protest". Donald Hendersonsyn The Boston Globe, November 9, 1919, p. 48.
88. ^ "Archived re-create". Archived from the original on October 6, 2012. Retrieved July 31, 2012. {{cite web}}: CS1 maint: archived copy as championship (link)
89. ^ "Jenna Weissman Joselit: Restoring the 'American Sistine Chapel'... How Sargent'southward 'Synagogue' Provoked a Nation – Forward.com". The Jewish Daily Forward. August 4, 2010.
90. ^ Little, p. 135.
91. ^ "At Abode with Wilde, Sargent, and Whistler", Londonist, 2014: https://londonist.com/2015/08/the-street-of-wonderful-possibilities
92. ^ Everett, Lucinda, "Too 'dangerous' for Henry James: Violet Paget, the radical lesbian author who shook the fine art world", The Telegraph, March 2018: https://www.telegraph.co.uk/books/authors/dangerous-henry-james-violet-paget-radical-lesbian-writer-shook/
93. ^ Olson, Stanley John Vocalizer Sargent: His Portrait, St Martin's Griffin, 2001, New York, ISBN 0-312-27528-5, p. 199
94. ^ ^{a b c} Failing, Patricia, "The Hidden Sargent", Art News, May 2001, http://www.artnews.com/2001/05/01/the-hidden-sargent/
95. ^ Davis, Deborah Strapless: John Singer Sargent And The Autumn Of Madam X, Tarcher, 2003, ASIN: B015QKNWS0, p. 254
96. ^ Moss, Dorothy. "John Vocalizer Sargent, 'Madame X' and 'Babe Millbank'", The Burlington Magazine, May 2001, No. 1178, Vol. 143
97. ^ Lilliputian, p. 141.
98. ^ Tóibín, Colm The secret life of John Vocalizer Sargent,The Telegraph, February 15, 2015
99. ^ Ormond, Richard; Kilmurray, Elaine "John Singer Sargent, Complete Paintings, Volume 1 Yale University Press, 1998, p. 88
100. ^ Diliberto, Gioia. "Sargent'southward Muses: Was Madam 10 Really a Mister?", The New York Times, May 18, 2003
101. ^ Fairbrother, Trevor, John Vocalizer Sargent: The Sensualist, Yale University Press, 2000, ISBN 0-300-08744-6, p. 220, note vii
102. ^ Fairbrother, Trevor (2001). John Vocalizer Sargent: The Sensualist. ISBN 0-300-08744-half-dozen, p. 139, Note 4.
103. ^ Davis, Deborah Strapless: John Singer Sargent and the Fall of Madam X, Tarcher, 2003, ASIN: B015QKNWS0, 143–145
104. ^ Olson, Stanley John Vocalizer Sargent, His Portrait, St Martins Printing, 1986, ISBN 0-312-44456-7, p. 88.
105. ^ Kilmurray, Elaine: "Traveling Companions", Sargent Abroad, pp. 57–8. Abbeville Press, 1997.
106. ^ Kilmurray: "Chronology of Travels", p. 240, 1997.
107. ^ "The Fountain, Villa Torlonia, Frascati, Italy". Archived from the original on July x, 2012.
108. ^ This from Auguste Rodin, upon seeing The Misses Hunter in 1902. Ormond and Kilmurray, John Singer Sargent: The Early Portraits, p. 150. Yale University, 1998.
109. ^ Rewald, John: Camille Pissarro: Letters to his Son Lucien, p. 183. Routledge & Kegan Paul, 1980.
110. ^ ^{a b} Prettejohn, p. 73, 1998.
111. ^ Sargent's friend Vernon Lee referred to the artist's "outspoken love of the exotic...the unavowed love of rare kinds of dazzler, for incredible types of elegance." Charteris, Evan: John Sargent, p. 252. London and New York, 1927.
112. ^ Fairbrother, p. 140.
113. ^ Fairbrother, p. 141.
114. ^ "Archived copy". Archived from the original on March 20, 2012. Retrieved July 31, 2012. {{cite web}}: CS1 maint: archived copy as title (link)
115. ^ See Trevor Fairbrother," Warhol Meets Sargent at Whitney," Arts Magazine 6 (February 1987): 64–71.
116. ^ Fairbrother, p. 145.
117. ^ "Painters and Sculptors' Gallery Association to Begin Piece of work", The New York Times, December xix, 1922.
118. ^ ^{a b} Roberts, Norma J., ed. (1988), The American Collections , Columbus Museum of Art, p. 34, ISBN0-8109-1811-0 .
119. ^ "John Singer Sargent". Necropolis Notables. The Brookwood Cemetery Lodge. Archived from the original on September 17, 2016. Retrieved Feb 23, 2007.
120. ^ "Tate – Website undergoing maintenance".
121. ^ "Taken from Sargent's Sketchbook", The New York Times, February 12, 1928 ; "Sargent Sketches in New Exhibit Here", The New York Times, Feb xiv, 1928 .
122. ^ "Sotheby'due south: Fine art Auctions & Individual Sales for Gimmicky, Modern & Impressionist, Erstwhile Master Paintings, Jewellery, Watches, Wine, Decorative Arts, Asian Art & more – Sotheby's". Archived from the original on August 7, 2016. Retrieved July 31, 2016.
123. ^ The Age, Dec 3, 2004.
124. ^ *"Madame X: A Burlesque Fantasy at the Overtime Theater"events.mysanantonio.com 2/2/18

General sources [edit]

• Davis, Deborah. Sargent's Women, pages xi–23. Adelson Galleries, Inc., 2003. ISBN 0-9741621-0-8
• Fairbrother, Trevor: John Vocalizer Sargent: The Sensualist (2001), ISBN 0-300-08744-6, Page 139, Note 4.
• Joselit, Jenna Weissman. "Restoring the American 'Sistine Chapel' " The Forrard, August 13, 2010.
• Kilmurray, Elaine: Sargent Abroad. Abbeville Press, 1997. Pages 57–8, 242.
• Lehmann-Barclay, Lucie. "Public Art, Private Prejudice." Christian Science Monitor, January 7, 2005, p. 11.
• "New Painting at Boston Public Library Stirs Jews to Vigorous Protestation." Boston Globe, November 9, 1919, p. 48.
• Noël, Benoît et Jean Hournon: Portrait de Madame X in Parisiana – la Capitale des arts au XIXème siècle, Les Presses Franciliennes, Paris, 2006. pp. 100–105.
• Ormond, Richard: "Sargent'due south Art" in John Singer Sargent, pp. 25–7. Tate Gallery, 1998.
• Prettejohn, Elizabeth: Interpreting Sargent, page 9. Stewart, Tabori & Chang, 1998.
• Promey, Sally Chiliad. "John Singer Sargent's Triumph of Organized religion at the Boston Public Library." [1]
• Rewald, John: Camille Pissarro: Letters to his Son Lucien, page 183. Routledge & Kegan Paul, 1980.

Further reading [edit]

• Herdrich, Stephanie Fifty; Weinberg, H. Barbara (2000). American drawings and watercolors in the Metropolitan Museum of Art: John Singer Sargent. New York: The Metropolitan Museum of Art. ISBN0-87099-952-4.
• Adelson, Warren; Gerdts, William H.; Kilmurray, Elaine; Zorzi, Rosella Mamoli; Ormond, Richard; Oustinoff, Elizabeth (2006). Sargent'south Venice. New Oasis: Yale University Press. ISBN 978-0-300-11717-2.
• Video John Vocalist Sargent: Secrets of Composition and Pattern, Jason Alster, 2013. Discusses use of Gestalt and design techniques in Sargent'southward paintings.
• Rubin, Southward (1991). [ John Singer Sargent'due south Alpine Sketchbooks: a young artist's perspective]. New York: The Metropolitan Museum of Art. ISBN978-0-300-19378-7.
• Corsano, Karen; Williman, Daniel (2014). John Singer Sargent And His Muse: Painting Love and Loss. Maryland: Rowman & Litchfield. ISBN978-1-4422-3050-7.
• Thomas, John (2017). Redemption Achieved. John Singer Sargent'due south Crucifixion of Christ with Adam and Eve and its identify in his piece of work. Wolverhampton: Twin Books. ISBN978-0-9934781-1-6.
• Capó, Jr, Julio (2017). Welcome to Fairyland: Queer Miami before 1940. University of N Carolina Press. ISBN978-1-4696-3520-0.

External links [edit]

• 113 artworks by or afterward John Vocalist Sargent at the Art UK site
• Biography, Way and Artworks
• John Vocalist Sargent – Gallery of 809 paintings.
• "Mrs. Edward Goetz" at [Brigham Young Museum of Art]
• John Singer Sargent Virtual Gallery
• Sargent at Harvard – archived searchable database by Harvard University Art Museums
• The Sargent Murals at Boston Public Library
• John Singer Sargent – News, biography and works
• John Singer Sargent, Miss One thousand. Carey Thomas, July 1899, oil on canvas, Bryn Mawr Higher Art and Antiquity Collections
• John Vocaliser Sargent Letters Online at the Smithsonian Archives of American Art
• "Sargent and the Sea at the Imperial Academy", review by Richard Dorment, The Guardian, July 12, 2010
• John Vocalist Sargent at Harper'southward Magazine
• John Singer Sargent at Smithsonian American Art Museum
• John Singer Sargent exhibition catalogs
• A video word about Sargent's Carnation, Lily, Lily, Rose from Smarthistory at Khan Academy.
• John Vocalist Sargent'due south involvement in picture show frames
• Works by John Vocaliser Sargent at Projection Gutenberg
• Works by or about John Vocaliser Sargent at Internet Archive
• John Singer Sargent at the Jewish Museum
• Joseph J. Rishel, In the Luxembourg Gardens in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art digital scholarly catalogue (fully bachelor equally a gratis PDF)

beaverbeirds67.blogspot.com

Source: https://en.wikipedia.org/wiki/John_Singer_Sargent

Share this post