Sargent, John Singer

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[[Image:Sargent, John SInger (1856-1925) - Self-Portrait 1907 b.jpg|thumb|right|250px|''Self Portrait'', 1906, oil on canvas, 70 x 53 cm, [[Uffizi Gallery]], Florence.]]
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{{epname|Sargent, John Singer}}
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'''John Singer Sargent''' (January 12, 1856 – April 14, 1925) was the most successful portrait painter of his era, as well as a gifted [[Landscape painting|landscape painter]] and [[Watercolor painting|watercolorist]]. Sargent was born in [[Florence]], [[Italy]] to American parents but lived most of his life in [[Great Britain]].  
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[[Image:Sargent, John SInger (1856-1925) - Self-Portrait 1907 b.jpg|thumb|right|250px|''Self Portrait,'' 1906, oil on canvas, 70 x 53 cm, [[Uffizi Gallery]], Florence.]]
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'''John Singer Sargent''' (January 12, 1856 – April 14, 1925) was a renowned turn-of-the century [[Portrait painting|portrait painter]], as well as a gifted [[Landscape painting|landscape painter]], [[Watercolor painting|watercolorist]], and [[mural]]ist.
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In addition to painting two [[United States]] [[President of the United States|presidents]] -  [[Theodore Roosevelt]] and [[Woodrow Wilson]] - Sargent was well known for painting the aristocracy of [[Europe]], the new and emerging tycoons of big [[business]] such as [[John D. Rockefeller|Rockefeller]] and [[Cornelius Vanderbilt|Vanderbilt]], and affluent ladies of the [[Edwardian period|Edwardian-era]]. However, his oeuvre was not just confined to the upper echelons of society; he also painted [[gypsies]], [[tramps]], and [[street children]]; he painted near the front lines during [[World War I]]; he painted the artists of his time, [[poet]]s, [[dance|dancers]], [[music|musicians]], and the [[Author|writers]], [[Robert Louis Stevenson]], and [[Henry James]]. ''<ref>[[:commons:Image:Sargent - Robert Louis Stevenson and His Wife.jpg|Portrait of Robert Louis Stevenson and his Wife]]'' [http://www.jssgallery.org/Paintings/Robert_Louis_Stevenson_and_His_Wife.htm John Singer Sargent Virtual Gallery, "Robert Lewis Stevenson and his Wife"] </ref>
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{{toc}} 
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His prodigious career has become a testament to a bygone [[periodization|era]] -  a slower and gentler time that was soon to be consumed by the tumultuous changes of the twentieth century.
  
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In addition to painting two [[United States]] [[President of the United States|presidents]] -  [[Theodore Roosevelt]] and [[Woodrow Wilson]] - Sargent was well known for painting the aristocracy of [[Europe]], the new and emerging tycoons of big business such as [[John D. Rockefeller|Rockefeller]] and [[Cornelius Vanderbilt|Vanderbilt]], and genteel ladies of the [[Edwardian period|Edwardian era]]. However, his oevre was not just confined to the upper echelons of society; he also painted [[gypsies]], [[tramps]], and [[street children]]; he painted near the front lines during [[World War I]]; he painted the artists of his time, [[poet]]s, [[dance|dancers]], [[music|musicians]], and the writers, [[Robert Louis Stevenson]], and [[Henry James]]. ''[[:commons:Image:Sargent - Robert Louis Stevenson and His Wife.jpg|Portrait of Robert Louis Stevenson and his Wife]]'' <ref>[http://www.jssgallery.org/Paintings/Robert_Louis_Stevenson_and_His_Wife.htm John Singer Sargent Virtual Gallery, "Robert Lewis Stevenson and his Wife"]</ref>
 
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His prodigious career has become a testament to a bygone [[periodization|era]] -  a slower and gentler time that was soon to be consumed by the tumultuous changes of the 20th century.
 
 
==Biography==
 
==Biography==
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[[Image:Sargent MadameX.jpeg|thumb|left|''[[Portrait of Madame X|Madame X]]'', 1884, oil on canvas, 234.95 x 109.86 cm, [[Metropolitan Museum of Art]], Manhattan.]]
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[[Image:Sargent MadameX.jpeg|thumb|left|''[[Portrait of Madame X|Madame X]],'' 1884, oil on canvas, 234.95 x 109.86 cm, [[Metropolitan Museum of Art]], Manhattan.]]
 
===Early life and influences===
 
===Early life and influences===
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While in [[Paris]] Sargent studied with [[Emile Auguste Carolus-Duran]] whose influence would be pivotal from the years 1874-1878.
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John Singer Sargent was born in [[Florence]], [[Italy]] in 1856 to [[United States|American]] parents but lived most of his life in [[Great Britain]]. He was the first child of Dr. Fitzwilliam Sargent, a [[surgeon]] from an old New England family, and Mary Newbold Singer, the daughter of a [[Philadelphia]] [[merchant]].  
  
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===Madame X and controversy===
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Sargent received his earliest formal instruction in [[Rome]] in 1869, where he was taught by the German-American [[Landscape painting|landscape painter]] [[Carl Welsch]]. From 1873-1874 he attended the Accademia di Belle Arti in [[Florence]].
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He continued to receive positive critical notice in the early 1880s, for his portraits; mostly full-length portrayals of women which included: ''Madame Edouard Pailleron'' in 1880, ''Madame Ramón Subercaseaux'' in 1881, and ''Lady with the Rose'', 1882. <ref>Ormond, Richard: "Sargent's Art," ''John Singer Sargent'', page 25-7. Tate Gallery, 1998.</ref>
 
  
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[[Image:Frederick Law Olmsted.jpg|thumb|225px|right|''[[Frederick Law Olmsted]]'', 1895, oil on canvas, 91 x 61 1/4 in.]]
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Like many artists in pursuit of their craft, Sargent traveled extensively. Additionally, he would spend the latter part of his life visiting the United States and painting his epic mural for the [[Boston]] Public [[Library]].
  
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Sargent's best portraits reveal the individuality and personality of the sitters; critics have compared him to [[Diego Velázquez]]. ''The Daughters of Edward Darley Boit'', 1882, a haunting interior which echoes Velázquez' ''Las Meninas''.<ref>Ormond, page 27, 1998.</ref>
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In his youth he was educated in [[Italy]], [[France]] and [[Germany]], and finally moving to [[Paris]] in 1874, he studied under [[Emile Auguste Carolus-Duran]] whose influence would be pivotal during his early years. In 1879 he traveled to [[Madrid]], [[Spain]] to study the works of [[Diego Velázquez]], and to [[The Netherlands]], to view the works of [[Frans Hals]]. He lived a total of ten years in Paris until scandal broke out over his controversial painting, ''Madame X.''
  
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Sargent's ''[[Portrait of Madame X]]'', done in 1884, is now considered one of his best works, and was the artist's personal favorite; eventually Sargent sold it to the [[Metropolitan Museum of Art]]. However, at the time it was unveiled in Paris at the 1884 [[Salon]], it aroused such a negative reaction that it prompted Sargent to move to [[London]]. (The original portrait of Madame X was painted with the strap off the shoulder; subsequently, Sargent re-painted it with the strap returned to its upright position on the shoulder.)
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Critics have compared Sargent to Velázquez, who he greatly admired, and his painting ''The Daughters of Edward Darley Boit,'' 1882, is said to emulate Velázquez' ''Las Meninas''.<ref>Richard Ormond, "Sargent's Art,"' ''John Singer Sargent,'' (Tate Gallery, 1998. ISBN 069100434X), 27</ref>
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===''Madame X'' and controversy===
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Sargent received positive critical notice in the early 1880s, for his portraits; mostly full-length portrayals of fashionably elite women, including: ''Madame Edouard Pailleron'' in 1880, ''Madame Ramón Subercaseaux'' in 1881, and ''Lady with the Rose,'' 1882. <ref>Ormond, 25-27. </ref>
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[[Image:Frederick Law Olmsted.jpg|thumb|225px|right|''[[Frederick Law Olmsted]],'' 1895, oil on canvas, 91 x 61 1/4 in.]]
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However, Sargent's ''Portrait of Madame X'' ignited controversy after its unveiling at the [[Paris Salon]] in 1884. At the time it aroused such a negative reaction that it prompted Sargent to move to [[London]].
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Madame Gautreau - ''Madame X'' - a well-known Parisian socialite who commissioned Sargent to paint her portrait, refused it after the ensuing fire storm. (The original portrait of ''Madame X'' was painted with the strap off the shoulder; subsequently, Sargent re-painted it with the strap returned to its upright position ''on'' the shoulder.)
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Eventually the painting was sold to the [[Metropolitan Museum of Art]] and today it is considered one of Sargent's best works. It was also one of the artist's favorite.
  
 
==Other Portraits==
 
==Other Portraits==
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year...............exhibition at the [[Royal Academy]]. These included the portraits of ''Dr. Pozzi at Home'', 1881, a flamboyant essay in red, and the more traditional ''Mrs. Henry White'', 1883. The ensuing portrait commissions encouraged Sargent to finalize his move to London in 1886.<ref>Notwithstanding the Madame X scandal, "There had been talk of his moving to London as early as 1882, he had been urged to do so repeatedly by his new friend, the novelist Henry James, and in retrospect his transfer to London may be seen to have been inevitable." Ormond, page 28, 1998.</ref> His first major success at the Royal Academy came in 1887, with the enthusiastic response to ''[[:commons:Image:Sargent Carnation Lily Lily Rose.jpg|Carnation, Lily, Lily, Rose]]'', a large piece, painted on site, of two young girls lighting lanterns in an English garden. The painting was immediately purchased by the [[Tate Gallery]].  
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Sargent's best portraits were said to have revealed the individuality and personality of the sitter. Thomas Craven in ''A Treasury of Art Masterpieces'' (470) says, "His rightness in proportions was microscopically unerring - he never missed a dimension, or varied a hairsbreadth from the exact size and just relationships of features; he was a dead shot at likenesses."
  
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In 1894 Sargent was elected an associate of the Royal Academy, and was made a full member three years later. In the 1890s he averaged fourteen portrait commissions per year, among them the striking yet delicate [http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/5396/ ''Lady Agnew of Lochnaw''](1892) Its exhibition at the Royal Academy in 1898 secured Sargent's reputation as a portrait artist.
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[[Image:MrMrsINPhelpsStokes1897.JPG|thumb|left|150px|Mr. and Mrs. I.N. Phelps-Stokes, 1897, oil on canvas, 214 x 101 cm, [[Metropolitan Museum of Art]], Manhattan.]]
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[[Image:TRSargent.jpg|thumb|210px|right|''[[Theodore Roosevelt]],'' 1903]]
  
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===Landscapes and other work===
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His best portrait work is considered to be the series of portraits that he was commissioned to paint for the family of wealthy art dealer Asher Wertheimer, the largest commission from a single patron (1898-1902). In this series Sargent captures family members, young and old in natural and unaffected poses. The portrait ''Almina, Daughter of Asher Wertheimer'' (1908), shows Singer's love for the exotic; in it the daughter is wearing a [[Persia]]n costume, a pearl encrusted turban, and is strumming an [[India]]n [[sarod]].
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Wertheimer bequeathed most of the paintings to the [[National Gallery]] in [[London]].<ref>Ormond, 148, 1998.</ref>
  
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[[Image:EL JALEO-SINGER.jpg|thumb|right|''El Jaleo'', 1880, oil on canvas, 240 x 348 cm, [[Isabella Stewart Gardner Museum]], Boston.]]
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A turning point in Sargent's career came after his move to [[London]] and a subsequent exhibition with the [[Royal Academy]] in 1887. Britains fell in love with his painting ''[[:commons:Image:Sargent Carnation Lily Lily Rose.jpg|Carnation, Lily, Lily, Rose]],'' which shows two young girls lighting lanterns in an English garden bathed in a lovely natural light. The work which reflects both [[Impressionism|impressionistic]] influence and [[Japanese art|Japanese]] technique was purchased by the [[Tate Gallery]] in London.
  
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Years......... he created roughly 900 oil paintings and more than 2,000 watercolours, as well as countless sketches and charcoal drawings. From 1907<ref>"In the history of portraiture there is no other instance of a major figure abandoning his profession and shutting up shop in such a peremptory way." Ormond, Page 38, 1998.</ref> on Sargent forsook portrait painting and focused on landscapes in his later years; <ref>In 1925, soon before 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 currently on display. Currier Museum of Art, "''Grace Elvina, Marchioness Curzon of Kedleston''" retrieved 4/5/2007 [http://collections.currier.org/Obj13$170 Currier Museum]</ref> he also sculpted later in life. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, Montana and Florida, and each destination offered pictorial treasure. As a concession to the insatiable demand of wealthy patrons for portraits, however, he continued to dash off rapid charcoal portrait sketches for them, which he called "Mugs."  Forty-six of these, spanning the years 1890-1916, were exhibited at the [[Royal Society of Portrait Painters]] in 1916.<ref>[http://www.jssgallery.org/Resources/Exhibitions/1916_Royal_Society_of_Portrait_Painters.htm John Singer Sargent Virtual Gallery, "Royal Society of Portrait Painters"]</ref>
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In 1894 Sargent was elected an associate of the Royal Academy, and was made a full member three years later. In the 1890s he averaged fourteen portrait commissions per year, among them the striking yet feminine [http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/5396/  ''Lady Agnew of Lochnaw''](1892) Its exhibition at the Royal Academy in 1898 secured Sargent's reputation as one of the finest portrait artists of the era.
  
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Sargent is usually not thought of as an  [[Impressionism|Impressionist]] painter, but he sometimes used impressionistic techniques to great effect, and his ''[[:commons:Image:Sargent MonetPainting.jpg|Claude Monet Painting at the Edge of a Wood]]'' is rendered in his own version of the impressionist style.
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In 1925, soon before 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]], in Manchester, New Hampshire, where it is currently on display.
  
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[[Image:MrMrsINPhelpsStokes1897.JPG|thumb|left|200px|Mr. and Mrs. I.N. Phelps-Stokes, 1897, oil on canvas, 214 x 101 cm, [[Metropolitan Museum of Art]], Manhattan.]]  
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==Landscapes, murals and other work==
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[[Image:EL JALEO-SINGER.jpg|200px|thumb|left|''El Jaleo,'' 1880, oil on canvas, 240 x 348 cm, [[Isabella Stewart Gardner Museum]], Boston.]]
  
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Although Sargent was an American expatriate, he returned to the United States many times, often to answer the demand for commissioned portraits. Many of his most important works are in museums in the U.S.; in 1909 he exhibited eighty-six watercolours in [[New York City]], eighty-three of which were bought by the [[Brooklyn Museum]].<ref>Ormond, page 276, 1998.</ref> His mural decorations grace the [[Boston Public Library]].<ref>[http://www.sargentmurals.bpl.org The Sargent Murals at the Boston Public Library]</ref> For this commission, a series of oils on the theme of ''The Triumph of Religion'' that were attached to the walls of the library by means of [[marouflage]], Sargent made numerous visits to the United States in the last decade of his life, including a stay of two full years from 1915-1917.<ref> Kilmurray, Elaine: "Chronology of Travels," ''Sargent Abroad'', page 242. Abbeville Press, 1997.</ref>
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After 1910 Sargent abandoned portrait painting and focused on landscapes and murals; he also took up [[sculpture|sculpting]].  
  
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It is in some of his late works where one senses Sargent painting most purely for himself. His watercolors, often of landscapes documenting his travels (''Santa Maria della Salute'', 1904, [[Brooklyn Museum of Art]]), were executed with a joyful fluidness. In watercolours and oils he portrayed his friends and family dressed in [[Orientalist]] costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (''The Chess Game'', 1906).<ref>Prettejohn, page 66-69, 1998.</ref>
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However, as a concession to the demand for portraits by his wealthy patrons, he continued to dash off rapid [[charcoal]] portrait sketches for them, which he called "Mugs." Forty-six of these, spanning the years 1890-1916, were exhibited at the [[Royal Society of Portrait Painters]] in 1916.<ref>[http://www.jssgallery.org/Resources/Exhibitions/1916_Royal_Society_of_Portrait_Painters.htm John Singer Sargent Virtual Gallery, "Royal Society of Portrait Painters"]</ref>
  
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===Friendships===
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===Boston Public Library mural===
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Among the artists with whom Sargent associated were [[Dennis Miller Bunker]],  [[Edwin Austin Abbey]] (who also worked on the [[Boston Public Library]] murals), [[Francis David Millet]],  and [[Claude Monet]], whom Sargent painted. Sargent developed a life-long friendship with fellow painter [[Paul César Helleu]], whom he met in Paris in 1878 when Sargent was 22 and Helleu was 18. Sargent painted both Helleu and his wife Alice on several occasions; the most memorable one being the  impressionistic ''Paul Helleu Sketching with his Wife'', done in 1889. His supporters included [[Henry James]], and [[Isabella Stewart Gardner]] (who commissioned and purchased works from Sargent, and sought his advice on other acquisitions),<ref>Kilmurray, Elaine: "Traveling Companions," ''Sargent Abroad'', page 57-8. Abbeville Press, 1997.</ref> and [[Edward VII of the United Kingdom|Edward VII]], whose recommendation for knighthood the artist declined.<ref>Kilmurray: "Chronology of Travels," page 240, 1997.</ref>
 
  
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[[Image:TRSargent.jpg|thumb|210px|right|''[[Theodore Roosevelt]]'', 1903;]]
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His famous mural ''The Triumph of Religion'' is still displayed at the [http://www.sargentmurals.bpl.org/site/imagesection/18_images.html Boston Public Library].<ref>[http://www.sargentmurals.bpl.org The Sargent Murals at the Boston Public Library] ''Sargentmurals.bpl.org.'' Retrieved August 21, 2007.</ref> Discussion about the mural began in 1890 and in 1893 he had an official contract. For this commission Sargent made numerous visits to the United States in the last decade of his life including a stay of two full years from 1915-1917. The 16-panel pictorial narrative is a series of oils with the theme ''The Triumph of Religion.'' They were attached to the walls of the library by means of [[marouflage]]. The multimedia mural also employs more than 600 relief elements as well as sculpture.
  
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==Legacy==
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Sargent’s ''Triumph of Religion'' illustrates one version of an [[Enlightenment]] idea: that Western [[civilization]]’s progress into modernity would mean radical changes in the fortunes of [[religion]]. Many predicted that religion would disappear, replaced by a [[science|scientific]] “disenchantment” of the universe. Sargent, and the experts he consulted, believed that the external forms of religion (creeds, dogma, institutions) would decline and pass away, while religion itself would survive and even triumph through private, individual, subjective spiritualities.<ref>[http://sargentmurals.bpl.org/site/murals/05_description.html Description and Interpretation] ''Sargentmurals.bpl.org.'' Retrieved August 21, 2007.</ref>
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Sargent Hall came to be known as an American [[Sistine Chapel]] with the object of “worship”  being not the [[Christian]] [[deity]] but the informed and enlightened subjectivity of education. ''Triumph of Religion'' narrates a story that goes from [[Materialism|materialist]] [[superstition]] in [[Pagan]] Gods, through ancient dogma to a “modern” spirituality of the heart.<ref>[http://sargentmurals.bpl.org/site/murals/07_description.html Description and Interpretation] ''Sargentmurals.bpl.org''. Retrieved August 21, 2007.</ref>
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Sargent himself supervised the installation of ''Frieze of Prophets,'' completed by late April 1895. Art critics hailed his work as an “epoch-making achievement,” and it led to a second contract that doubled his compensation while expanding the scope of his commission. ''Frieze of Prophets'' has been the most sought-after reproduction from the mural cycle and has been displayed in various renditions on [[church]] bulletins, book illustrations, ecclesiastical [[stained glass]], and wall decorations.
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Sargent traveled to Boston to oversee the installation of the ''Dogma of the Redemption'' on the south wall in January 1903. This piece included a version of the [[Crucifix]], which was an original [[sculpture]] by Sargent. Thirteen years would pass before Sargent sent another portion of his murals to Boston. Sargent’s final mural installation, consisting of the ''[[Synagogue]]'' and ''[[Church]]'' paintings on the east wall, took place in October 1919.
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After this installation a controversy brewed in which his metaphoric depiction of a synagogue that showed a broken, blindfolded figure—was criticized as [[anti-Semitic]]. As a result the [[Massachusetts]] [[legislature]] considered passing a bill to have it removed from the library. The reaction to this one panel stunned Sargent to the extent that he eventually backed off from the mural project and he died before completing its final panel. The final panel was to have been the mural’s keynote painting, tying the entire project together: a rendering of [[Christ]]’s ''[[Sermon on the Mount]]'' that was to appear between ''Synagogue'' and ''Church.'' The panel remains empty to this day.
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===Harvard mural===
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In the fall of 1920, [[Harvard University]] commissioned Sargent to produce two paintings for the main stairwell at Widener Library as part of the University’s enduring tribute to its [[World War I]] dead. In 1922 his ''Coming of the Americans'' went on display in the Widener Library. The Widener murals occupy arched panels over fourteen feet high at the top of the stairs. The two panels are titled ''Entering the War'' and ''Death and Victory.''
  
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In a time when the art world focused, in turn, on [[Impressionism]], [[Fauvism]], and [[Cubism]], Sargent practiced his own form of [[Realism (arts)|Realism]].
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==Friendships==
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Among the artists with whom Sargent associated were [[Dennis Miller Bunker]], [[Edwin Austin Abbey]] (who also worked on the [[Boston Public Library]] murals), [[Francis David Millet]], and [[Claude Monet]], whom Sargent painted. Although Sargent is usually not thought of as an 
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[[Impressionism|Impressionist]] painter, he sometimes used impressionistic techniques to great effect. His ''[[:commons:Image:Sargent MonetPainting.jpg|Claude Monet Painting at the Edge of a Wood]]'' is a rendering of his good friend completed in his own version of the impressionist style.
  
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(''Arsène Vigeant'', 1885, Musées de Metz ; ''[[:Image:MrMrsINPhelpsStokes1897.JPG|Mr. and Mrs. Isaac Newton Phelps-Stokes]]'', 1897, Metropolitan Museum of Art, New York)
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Sargent developed a life-long friendship with fellow painter [[Paul César Helleu]], whom he met in [[Paris]] in 1878 when Sargent was 22 and Helleu was 18. Sargent painted both Helleu and his wife Alice on several occasions; the most memorable one being the impressionistic ''Paul Helleu Sketching with his Wife,'' done in 1889.
  
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His critics referred to him as a relic of the [[Gilded Age]] and out of step with the artistic sentiments of post-[[World War I]] Europe. Foremost of Sargent's detractors was the influential English art critic [[Roger Fry]], of the [[Bloomsbury Group]], who at the 1926 Sargent retrospective in [[London]] dismissed Sargent's work as lacking aesthetic quality.<ref>'Wonderful indeed, but most wonderful that this wonderful performance should ever have been confused with that of an artist.' Prettejohn, page 73, 1998.</ref>
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His supporters included [[Henry James]], and [[Isabella Stewart Gardner]] (who commissioned and purchased works from Sargent, and sought his advice on other acquisitions),<ref>Elaine Kilmurray, "Traveling Companions," in Adelson, Warren. 1997. ''Sargent Abroad: Figures and Landscapes.'' (New York: Abbeville Press), 57-58 ISBN 0789203847.</ref> and [[Edward VII of the United Kingdom|King Edward VII]], whose recommendation for knighthood the artist declined.<ref> Kilmurray, "Chronology of Travels," (1997), 240.</ref>
  
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Despite a long period of critical disfavor, Sargent's popularity has increased steadily since the 1960s, and Sargent has been the subject of recent large-scale exhibitions in major museums, including a retrospective exhibition at the [[Whitney Museum of American Art]] in 1986, and a 1999 "blockbuster" travelling show that exhibited at the [[Museum of Fine Arts, Boston]], the [[National Gallery of Art Washington]], and the [[National Gallery, London]].
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==Legacy==
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John Singer Sargent died on April 15, 1925 and is interred in Brookwood Cemetery near Woking, Surrey, [[England]].<ref>John Singer Sargent. ''Necropolis Notables.'' The Brookwood Cemetery Society. [http://www.tbcs.org.uk/j_s_sargent.htm] accessdate 2007-02-23 </ref>
  
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It has been suggested that the exotic qualities<ref>Sargent's friend Vernon Lee referred to the artist's "outspoken love of the exotic...the unavowed love of rare kinds of beauty, for incredible types of elegance." Charteris, Evan: ''John Sargent'', page 252. London and New York, 1927.</ref> inherent in his 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 [[Persia]]n costume, a pearl encrusted turban, and strumming an [[India]]n [[sarod]], accoutrements all meant to convey sensuality and mystery. If Sargent used this portrait to explore issues of sexuality and identity, it seems to have met with the satisfaction of the subject's father, Asher Wertheimer, a wealthy Jewish art dealer living in London, who commissioned from Sargent a series of a dozen portraits of his family, the artist's largest commission from a single patron.<ref>Ormond, page 169-171, 1998.</ref> The paintings reveal a pleasant familiarity between the artist and his subjects. Wertheimer bequeathed most of the paintings to the [[National Gallery, London|National Gallery]].<ref>Ormond, page 148, 1998.</ref>
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His critics referred to him as a relic of the [[Gilded Age]] and out of step with the artistic sentiments of post-[[World War I]] Europe. Foremost of Sargent's detractors was the influential English art critic [[Roger Fry]], of the [[Bloomsbury Group]], who at the 1926 Sargent retrospective in [[London]] dismissed Sargent's work as lacking aesthetic quality.<ref>'Wonderful indeed, but most wonderful that this wonderful performance should ever have been confused with that of an artist.' Richard Thomson, and Elizabeth Prettejohn. 1998. ''John Singer Sargent'' - (Tate Gallery) - "Interpreting Sargent." TLS, the ''Times Literary Supplement''. (4988):3, 73.</ref>
  
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John Singer Sargent is interred in [[Brookwood Cemetery]] near [[Woking, Surrey]].<ref>{{cite web| title =John Singer Sargent | work =Necropolis Notables | publisher =The Brookwood Cemetery Society | url =http://www.tbcs.org.uk/j_s_sargent.htm | accessdate =2007-02-23  }}</ref>
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Despite a long period of critical disfavor, Sargent's popularity has increased steadily since the 1960s, and his works have been the subject of recent large-scale exhibitions in major museums, including a retrospective exhibition at the [[Whitney Museum of American Art]] in 1986, and a 1999 "blockbuster" traveling show that exhibited at the [[Museum of Fine Arts, Boston]], the [[National Gallery of Art Washington]], and the [[National Gallery, London]].
  
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==Posthumous sales==
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===Posthumous sales===
  
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''[[:commons:Image:Sargent - Robert Louis Stevenson and His Wife.jpg|Portrait of Robert Louis Stevenson and his Wife]]'' sold in 2004 for [[United States dollar|$]]8.8 million to Las Vegas casino mogul [[Steve Wynn (developer)|Steve Wynn]] to be installed at his newest casino, [[Wynn Las Vegas]].
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''[[:commons:Image:Sargent - Robert Louis Stevenson and His Wife.jpg|Portrait of Robert Louis Stevenson and his Wife]]'' sold in 2004 for [[United States dollar|$]]8.8 million to Las Vegas casino mogul [[Steve Wynn (developer)|Steve Wynn]] to be installed at his newest casino, [[Wynn Las Vegas]].<ref>[http://news.bbc.co.uk/2/hi/entertainment/3731171.stm Stevenson portrait sold for £5m], 20 May, 2004, ''BBc.co.uk''. Retrieved August 21, 2007.</ref>
  
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In December 2004, ''Group with Parasols (A Siesta)'' (1905) sold for $US 23.5 million, nearly double the Sotheby's estimate of $12 million. The previous highest price for a Sargent painting was $US 11 million.<ref>''[[The Age]]'', 3 December, 2004 </ref>
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In December 2004, ''Group with Parasols (A Siesta)'' (1905) sold for $US 23.5 million, nearly double the Sotheby's estimate of $12 million. The previous highest price for a Sargent painting was $US 11 million for his ''Cashmere'' painting in 1996.<ref>[http://news.bbc.co.uk/1/hi/entertainment/arts/4066391.stm Sargent painting sells for $23m],3 December, 2004. ''BBC.co.uk''. Retrieved August 21, 2007.</ref>
  
 
==Selected works==
 
==Selected works==
 
{{Commonscat|John Singer Sargent}}
 
{{Commonscat|John Singer Sargent}}
 
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*Portrait of Madame Edouard Pailleron (1880) <small>[http://www.corcoran.org/collection/highlights_main_results.asp?id=68 Corcoran Gallery of Art]</small>
+
*Portrait of Madame Edouard Pailleron (1880) <small> Corcoran Gallery of Art</small>
 
*Portrait of Mrs. Thomas Lincoln Manson Jr. (ca. 1890) Honolulu Academy of Arts
 
*Portrait of Mrs. Thomas Lincoln Manson Jr. (ca. 1890) Honolulu Academy of Arts
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*Portrait of Madame Ramón Subercaseaux (1881) <small>[http://www.jssgallery.org/paintings/Madame_Ramon_Subercaseaux.htm Private collection]</small>
+
*Portrait of Madame Ramón Subercaseaux (1881) <small> Private collection</small>
−
*''Dr. Pozzi at Home'' (1881) <small>[http://www.hammer.ucla.edu/collections/2/work_4.htm Hammer Museum]</small>
+
*''Dr. Pozzi at Home'' (1881) <small> Hammer Museum]</small>
 
*''Lady with the Rose'' (1882) <small>[http://www.metmuseum.org/toah/hd/sarg/hod_32.154.htm Metropolitan Museum of Art]</small>
 
*''Lady with the Rose'' (1882) <small>[http://www.metmuseum.org/toah/hd/sarg/hod_32.154.htm Metropolitan Museum of Art]</small>
 
*''[[:Image:EL JALEO-SINGER.jpg|El Jaleo]]'' (1882) <small>Isabella Stewart Gardner Museum</small>
 
*''[[:Image:EL JALEO-SINGER.jpg|El Jaleo]]'' (1882) <small>Isabella Stewart Gardner Museum</small>
Line 84: Line 115:
 
*[[:commons:Image:Gabriel Faure.jpg|Portrait]] of the composer [[Gabriel Fauré]] (1889) <small>Paris Museum of Music</small>
 
*[[:commons:Image:Gabriel Faure.jpg|Portrait]] of the composer [[Gabriel Fauré]] (1889) <small>Paris Museum of Music</small>
 
*''La [[Carmencita]]''. Portrait of the dancer Carmencita. Musee d'Orsay, Paris (1890)
 
*''La [[Carmencita]]''. Portrait of the dancer Carmencita. Musee d'Orsay, Paris (1890)
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*Portrait of Mrs. Hugh Hammersley (1892) <small>[http://www.metmuseum.org/toah/hd/sarg/ho_1998.365.htm Metropolitan Museum of Art]</small>
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*Portrait of Mrs. Hugh Hammersley (1892) <small>[http://www.nationalgalleries.org/collection/online_az/4:322/?initial=S&artistId=4829&artistName=John%20Singer%20Sargent&submit=1 Metropolitan Museum of Art]</small>
 
*''Lady Agnew of Lochnaw'' (1892) <small>[http://www.nationalgalleries.org/collection/online_az/4:322/result/0/539 National Galleries of Scotland]</small>
 
*''Lady Agnew of Lochnaw'' (1892) <small>[http://www.nationalgalleries.org/collection/online_az/4:322/result/0/539 National Galleries of Scotland]</small>
 
*[[:Image:Frederick-Law-Olmsted.JPG|Portrait]] of [[Frederick Law Olmsted]] (1895)
 
*[[:Image:Frederick-Law-Olmsted.JPG|Portrait]] of [[Frederick Law Olmsted]] (1895)
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== References ==
 
== References ==
−
* Fairbrother, Trevor: ''John Singer Sargent: The Sensualist'' (2001), ISBN 0-300-08744-6
+
* Adelson, Warren. 1997. ''Sargent Abroad: Figures and Landscapes.'' New York: Abbeville Press. ISBN 0789203847
−
* Kilmurray, Elainen: ''Sargent Abroad,'' Abbeville Press, 1997.
+
* Fairbrother, Trevor J. 2001. ''John Singer Sargent: The Sensualist.'' ISBN 0300087446
−
* Noël, Benoît et Jean Hournon:  ''Portrait de Madame X'' in ''Parisiana - la Capitale des arts au XIXème siècle'', Les Presses Franciliennes, Paris, (2006).
+
* Fairbrother, Trevor J. 1994. ''John Singer Sargent.'' New York: Abrams. ISBN 0810938332
−
* Ormond, Richard: "Sargent's Art" in ''John Singer Sargent'' Tate Gallery, (1998).  
+
* Gallati, Barbara Dayer, Erica E. Hirshler, Richard Ormond, and John Singer Sargent. 2004. ''Great Expectations: John Singer Sargent Painting Children.''.Brooklyn, NY: Brooklyn Museum in association with Bulfinch Press. ISBN 0821261703
−
* Prettejohn, Elizabeth: ''Interpreting Sargent,'' Stewart, Tabori & Chang, (1998).
+
* Prettejohn, Elizabeth. 1999. ''Interpreting Sargent.'' New York: Stewart, Tabori & Chang. ISBN 1556707282
−
* Rewald, John: ''Camille Pissarro: Letters to his Son Lucien,'' Routledge & Kegan Paul (1980).
+
* Promey, Sally M. 1999. ''Painting Religion in Public: John Singer Sargent's Triumph of Religion at the Boston Public Library.'' Princeton, NJ: Princeton University Press. ISBN 0691015651
−
* Rewald, John: ''The John Hay Whitney Collection,'' National Gallery of Art, Washington (1983). ISBN 0-89468-066-8
+
* Sargent, John Singer, Elaine Kilmurray, and Richard Ormond. 1998. ''John Singer Sargent.'' London: Tate Gallery Pub. ISBN 1854372459
  
 
==External links==
 
==External links==
−
*[http://jssgallery.org/ "Home Page"], ''John Singer Sargent Virtual Gallery'', Retrieved July 24, 2007.
+
All links retrieved August 3, 2022.
−
* [http://www.artmuseums.harvard.edu/sargent/ "Sargent at Harvard"], ''Harvard University Art Museums'', Retrieved July 24, 2007.
+
*[http://jssgallery.org/ "Home Page"], ''John Singer Sargent Virtual Gallery''
−
* [http://www.sargentmurals.bpl.org/ "Home Page"], ''The Sargent Murals at the Boston Public Library'', Retrieved July 24, 2007.
+
* [http://www.ibiblio.org/wm/paint/auth/sargent/ "Sargent, John Singer"], ''WebMuseum''
−
* [http://www.ibiblio.org/wm/paint/auth/sargent/ "Sargent, John Singer"], ''WebMuseum'', Retrieved July 24, 2007.
+
* [http://www.tfaoi.com/aa/5aa/5aa232.htm Great Expectations: John Singer Sargent Painting Children] ''tfaoi.com.''
−
* [http://www.eeweems.com/sargent/ "Home Page"], ''John Singer Sargent- American Painter'', Retrieved July 24, 2007.
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{{DEFAULTSORT:Sargent, John Singer}}
 
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[[Category:History and biography]]
 
 
[[Category:Biography]]
 
[[Category:Biography]]
 
[[Category:Art, music, literature, sports and leisure]]
 
[[Category:Art, music, literature, sports and leisure]]
 
{{Credit|145586410}}
 
{{Credit|145586410}}

Latest revision as of 00:38, 10 February 2023

Self Portrait, 1906, oil on canvas, 70 x 53 cm, Uffizi Gallery, Florence.

John Singer Sargent (January 12, 1856 – April 14, 1925) was a renowned turn-of-the century portrait painter, as well as a gifted landscape painter, watercolorist, and muralist.

In addition to painting two United States presidents - Theodore Roosevelt and Woodrow Wilson - Sargent was well known for painting the aristocracy of Europe, the new and emerging tycoons of big business such as Rockefeller and Vanderbilt, and affluent ladies of the Edwardian-era. However, his oeuvre was not just confined to the upper echelons of society; he also painted gypsies, tramps, and street children; he painted near the front lines during World War I; he painted the artists of his time, poets, dancers, musicians, and the writers, Robert Louis Stevenson, and Henry James. [1]

His prodigious career has become a testament to a bygone era - a slower and gentler time that was soon to be consumed by the tumultuous changes of the twentieth century.

Biography

Madame X, 1884, oil on canvas, 234.95 x 109.86 cm, Metropolitan Museum of Art, Manhattan.

Early life and influences

John Singer Sargent was born in Florence, Italy in 1856 to American parents but lived most of his life in Great Britain. He was the first child of Dr. Fitzwilliam Sargent, a surgeon from an old New England family, and Mary Newbold Singer, the daughter of a Philadelphia merchant.

Sargent received his earliest formal instruction in Rome in 1869, where he was taught by the German-American landscape painter Carl Welsch. From 1873-1874 he attended the Accademia di Belle Arti in Florence.

Like many artists in pursuit of their craft, Sargent traveled extensively. Additionally, he would spend the latter part of his life visiting the United States and painting his epic mural for the Boston Public Library.

In his youth he was educated in Italy, France and Germany, and finally moving to Paris in 1874, he studied under Emile Auguste Carolus-Duran whose influence would be pivotal during his early years. In 1879 he traveled to Madrid, Spain to study the works of Diego Velázquez, and to The Netherlands, to view the works of Frans Hals. He lived a total of ten years in Paris until scandal broke out over his controversial painting, Madame X.

Critics have compared Sargent to Velázquez, who he greatly admired, and his painting The Daughters of Edward Darley Boit, 1882, is said to emulate Velázquez' Las Meninas.[2]

Madame X and controversy

Sargent received positive critical notice in the early 1880s, for his portraits; mostly full-length portrayals of fashionably elite women, including: Madame Edouard Pailleron in 1880, Madame Ramón Subercaseaux in 1881, and Lady with the Rose, 1882. [3]

Frederick Law Olmsted, 1895, oil on canvas, 91 x 61 1/4 in.

However, Sargent's Portrait of Madame X ignited controversy after its unveiling at the Paris Salon in 1884. At the time it aroused such a negative reaction that it prompted Sargent to move to London.

Madame Gautreau - Madame X - a well-known Parisian socialite who commissioned Sargent to paint her portrait, refused it after the ensuing fire storm. (The original portrait of Madame X was painted with the strap off the shoulder; subsequently, Sargent re-painted it with the strap returned to its upright position on the shoulder.)

Eventually the painting was sold to the Metropolitan Museum of Art and today it is considered one of Sargent's best works. It was also one of the artist's favorite.

Other Portraits

Sargent's best portraits were said to have revealed the individuality and personality of the sitter. Thomas Craven in A Treasury of Art Masterpieces (470) says, "His rightness in proportions was microscopically unerring - he never missed a dimension, or varied a hairsbreadth from the exact size and just relationships of features; he was a dead shot at likenesses."

Mr. and Mrs. I.N. Phelps-Stokes, 1897, oil on canvas, 214 x 101 cm, Metropolitan Museum of Art, Manhattan.
Theodore Roosevelt, 1903

His best portrait work is considered to be the series of portraits that he was commissioned to paint for the family of wealthy art dealer Asher Wertheimer, the largest commission from a single patron (1898-1902). In this series Sargent captures family members, young and old in natural and unaffected poses. The portrait Almina, Daughter of Asher Wertheimer (1908), shows Singer's love for the exotic; in it the daughter is wearing a Persian costume, a pearl encrusted turban, and is strumming an Indian sarod. Wertheimer bequeathed most of the paintings to the National Gallery in London.[4]

A turning point in Sargent's career came after his move to London and a subsequent exhibition with the Royal Academy in 1887. Britains fell in love with his painting Carnation, Lily, Lily, Rose, which shows two young girls lighting lanterns in an English garden bathed in a lovely natural light. The work which reflects both impressionistic influence and Japanese technique was purchased by the Tate Gallery in London.

In 1894 Sargent was elected an associate of the Royal Academy, and was made a full member three years later. In the 1890s he averaged fourteen portrait commissions per year, among them the striking yet feminine Lady Agnew of Lochnaw(1892) Its exhibition at the Royal Academy in 1898 secured Sargent's reputation as one of the finest portrait artists of the era.

In 1925, soon before 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, in Manchester, New Hampshire, where it is currently on display.

Landscapes, murals and other work

El Jaleo, 1880, oil on canvas, 240 x 348 cm, Isabella Stewart Gardner Museum, Boston.

After 1910 Sargent abandoned portrait painting and focused on landscapes and murals; he also took up sculpting.

However, as a concession to the demand for portraits by his wealthy patrons, he continued to dash off rapid charcoal portrait sketches for them, which he called "Mugs." Forty-six of these, spanning the years 1890-1916, were exhibited at the Royal Society of Portrait Painters in 1916.[5]

Boston Public Library mural

His famous mural The Triumph of Religion is still displayed at the Boston Public Library.[6] Discussion about the mural began in 1890 and in 1893 he had an official contract. For this commission Sargent made numerous visits to the United States in the last decade of his life including a stay of two full years from 1915-1917. The 16-panel pictorial narrative is a series of oils with the theme The Triumph of Religion. They were attached to the walls of the library by means of marouflage. The multimedia mural also employs more than 600 relief elements as well as sculpture.

Sargent’s Triumph of Religion illustrates one version of an Enlightenment idea: that Western civilization’s progress into modernity would mean radical changes in the fortunes of religion. Many predicted that religion would disappear, replaced by a scientific “disenchantment” of the universe. Sargent, and the experts he consulted, believed that the external forms of religion (creeds, dogma, institutions) would decline and pass away, while religion itself would survive and even triumph through private, individual, subjective spiritualities.[7]

Sargent Hall came to be known as an American Sistine Chapel with the object of “worship” being not the Christian deity but the informed and enlightened subjectivity of education. Triumph of Religion narrates a story that goes from materialist superstition in Pagan Gods, through ancient dogma to a “modern” spirituality of the heart.[8]

Sargent himself supervised the installation of Frieze of Prophets, completed by late April 1895. Art critics hailed his work as an “epoch-making achievement,” and it led to a second contract that doubled his compensation while expanding the scope of his commission. Frieze of Prophets has been the most sought-after reproduction from the mural cycle and has been displayed in various renditions on church bulletins, book illustrations, ecclesiastical stained glass, and wall decorations.

Sargent traveled to Boston to oversee the installation of the Dogma of the Redemption on the south wall in January 1903. This piece included a version of the Crucifix, which was an original sculpture by Sargent. Thirteen years would pass before Sargent sent another portion of his murals to Boston. Sargent’s final mural installation, consisting of the Synagogue and Church paintings on the east wall, took place in October 1919.

After this installation a controversy brewed in which his metaphoric depiction of a synagogue that showed a broken, blindfolded figure—was criticized as anti-Semitic. As a result the Massachusetts legislature considered passing a bill to have it removed from the library. The reaction to this one panel stunned Sargent to the extent that he eventually backed off from the mural project and he died before completing its final panel. The final panel was to have been the mural’s keynote painting, tying the entire project together: a rendering of Christ’s Sermon on the Mount that was to appear between Synagogue and Church. The panel remains empty to this day.

Harvard mural

In the fall of 1920, Harvard University commissioned Sargent to produce two paintings for the main stairwell at Widener Library as part of the University’s enduring tribute to its World War I dead. In 1922 his Coming of the Americans went on display in the Widener Library. The Widener murals occupy arched panels over fourteen feet high at the top of the stairs. The two panels are titled Entering the War and Death and Victory.

Friendships

Among the artists with whom Sargent associated were Dennis Miller Bunker, Edwin Austin Abbey (who also worked on the Boston Public Library murals), Francis David Millet, and Claude Monet, whom Sargent painted. Although Sargent is usually not thought of as an Impressionist painter, he sometimes used impressionistic techniques to great effect. His Claude Monet Painting at the Edge of a Wood is a rendering of his good friend completed in his own version of the impressionist style.

Sargent developed a life-long friendship with fellow painter Paul César Helleu, whom he met in Paris in 1878 when Sargent was 22 and Helleu was 18. Sargent painted both Helleu and his wife Alice on several occasions; the most memorable one being the impressionistic Paul Helleu Sketching with his Wife, done in 1889.

His supporters included Henry James, and Isabella Stewart Gardner (who commissioned and purchased works from Sargent, and sought his advice on other acquisitions),[9] and King Edward VII, whose recommendation for knighthood the artist declined.[10]

Legacy

John Singer Sargent died on April 15, 1925 and is interred in Brookwood Cemetery near Woking, Surrey, England.[11]

His critics referred to him as a relic of the Gilded Age and out of step with the artistic sentiments of post-World War I Europe. Foremost of Sargent's detractors was the influential English art critic Roger Fry, of the Bloomsbury Group, who at the 1926 Sargent retrospective in London dismissed Sargent's work as lacking aesthetic quality.[12]

Despite a long period of critical disfavor, Sargent's popularity has increased steadily since the 1960s, and his works have been the subject of recent large-scale exhibitions in major museums, including a retrospective exhibition at the Whitney Museum of American Art in 1986, and a 1999 "blockbuster" traveling show that exhibited at the Museum of Fine Arts, Boston, the National Gallery of Art Washington, and the National Gallery, London.

Posthumous sales

Portrait of Robert Louis Stevenson and his Wife sold in 2004 for $8.8 million to Las Vegas casino mogul Steve Wynn to be installed at his newest casino, Wynn Las Vegas.[13]

In December 2004, Group with Parasols (A Siesta) (1905) sold for $US 23.5 million, nearly double the Sotheby's estimate of $12 million. The previous highest price for a Sargent painting was $US 11 million for his Cashmere painting in 1996.[14]

Selected works

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Notes

  1. ↑ Portrait of Robert Louis Stevenson and his Wife John Singer Sargent Virtual Gallery, "Robert Lewis Stevenson and his Wife"
  2. ↑ Richard Ormond, "Sargent's Art,"' John Singer Sargent, (Tate Gallery, 1998. ISBN 069100434X), 27
  3. ↑ Ormond, 25-27.
  4. ↑ Ormond, 148, 1998.
  5. ↑ John Singer Sargent Virtual Gallery, "Royal Society of Portrait Painters"
  6. ↑ The Sargent Murals at the Boston Public Library Sargentmurals.bpl.org. Retrieved August 21, 2007.
  7. ↑ Description and Interpretation Sargentmurals.bpl.org. Retrieved August 21, 2007.
  8. ↑ Description and Interpretation Sargentmurals.bpl.org. Retrieved August 21, 2007.
  9. ↑ Elaine Kilmurray, "Traveling Companions," in Adelson, Warren. 1997. Sargent Abroad: Figures and Landscapes. (New York: Abbeville Press), 57-58 ISBN 0789203847.
  10. ↑ Kilmurray, "Chronology of Travels," (1997), 240.
  11. ↑ John Singer Sargent. Necropolis Notables. The Brookwood Cemetery Society. [1] accessdate 2007-02-23
  12. ↑ 'Wonderful indeed, but most wonderful that this wonderful performance should ever have been confused with that of an artist.' Richard Thomson, and Elizabeth Prettejohn. 1998. John Singer Sargent - (Tate Gallery) - "Interpreting Sargent." TLS, the Times Literary Supplement. (4988):3, 73.
  13. ↑ Stevenson portrait sold for £5m, 20 May, 2004, BBc.co.uk. Retrieved August 21, 2007.
  14. ↑ Sargent painting sells for $23m,3 December, 2004. BBC.co.uk. Retrieved August 21, 2007.

References
ISBN links support NWE through referral fees

  • Adelson, Warren. 1997. Sargent Abroad: Figures and Landscapes. New York: Abbeville Press. ISBN 0789203847
  • Fairbrother, Trevor J. 2001. John Singer Sargent: The Sensualist. ISBN 0300087446
  • Fairbrother, Trevor J. 1994. John Singer Sargent. New York: Abrams. ISBN 0810938332
  • Gallati, Barbara Dayer, Erica E. Hirshler, Richard Ormond, and John Singer Sargent. 2004. Great Expectations: John Singer Sargent Painting Children..Brooklyn, NY: Brooklyn Museum in association with Bulfinch Press. ISBN 0821261703
  • Prettejohn, Elizabeth. 1999. Interpreting Sargent. New York: Stewart, Tabori & Chang. ISBN 1556707282
  • Promey, Sally M. 1999. Painting Religion in Public: John Singer Sargent's Triumph of Religion at the Boston Public Library. Princeton, NJ: Princeton University Press. ISBN 0691015651
  • Sargent, John Singer, Elaine Kilmurray, and Richard Ormond. 1998. John Singer Sargent. London: Tate Gallery Pub. ISBN 1854372459

External links

All links retrieved August 3, 2022.

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