John Singer Sargent

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

John Singer Sargent (January 12, 1856 – April 14, 1925) was the most successful portrait painter of his era, as well as a gifted landscape painter and watercolorist. Sargent was born in Florence, Italy to American parents but lived most of his life in Great Britain.

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 genteel ladies of the 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, poets, dancers, musicians, and the writers, Robert Louis Stevenson, and Henry James. Portrait of Robert Louis Stevenson and his Wife [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 20th century.

Biography

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

Early life and influences

While in Paris Sargent studied with Emile Auguste Carolus-Duran whose influence would be pivotal from the years 1874-1878.

Madame X and controversy

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. [2]

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

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.[3]

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.)

Other Portraits

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.

His first major success at the Royal Academy came in 1887, with the enthusiastic response to 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.

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 feminineLady 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, where it is currently on display.

Landscapes and other work

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

Years......... he created roughly 900 oil paintings and more than 2,000 watercolours, as well as countless sketches and charcoal drawings. Sargent abandoned portrait painting in his later years and focused on landscapes; 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.[4]

Sargent is usually not thought of as an Impressionist painter, but he sometimes used impressionistic techniques to great effect. His Claude Monet Painting at the Edge of a Wood is a rendering completed in his own version of the impressionist style.

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

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 United States. In 1909 he exhibited eighty-six watercolours in New York City, eighty-three of which were bought by the Brooklyn Museum.

His murals are displayed at the Boston Public Library.[5] 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 murals show a series of oils with the theme The Triumph of Religion. They were attached to the walls of the library by means of marouflage.

It is in some of his late works where one senses Sargent painting most for his own personal pleasure. Using both mediums of watercolour and oil, he portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for more experimental treatment than did his commissions (see The Chess Game, 1906).

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. 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),[6] and Edward VII, whose recommendation for knighthood the artist declined.[7]

Theodore Roosevelt, 1903;

Legacy

In a time when the art world focused, in turn, on Impressionism, Fauvism, and Cubism, Sargent practiced his own form of Realism.

(Arsène Vigeant, 1885, Musées de Metz ; Mr. and Mrs. Isaac Newton Phelps-Stokes, 1897, Metropolitan Museum of Art, New York)

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.[8]

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.

It has been suggested that the exotic qualities[9] 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 Persian costume, a pearl encrusted turban, and strumming an Indian 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.[10] The paintings reveal a pleasant familiarity between the artist and his subjects. Wertheimer bequeathed most of the paintings to the National Gallery.[11]

John Singer Sargent is interred in Brookwood Cemetery near Woking, Surrey.[12]

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.

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.[13]

Selected works

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Notes

  1. ↑ John Singer Sargent Virtual Gallery, "Robert Lewis Stevenson and his Wife"
  2. ↑ Ormond, Richard: "Sargent's Art," John Singer Sargent, page 25-7. Tate Gallery, 1998.
  3. ↑ Ormond, page 27, 1998.
  4. ↑ John Singer Sargent Virtual Gallery, "Royal Society of Portrait Painters"
  5. ↑ The Sargent Murals at the Boston Public Library
  6. ↑ Kilmurray, Elaine: "Traveling Companions," Sargent Abroad, page 57-8. Abbeville Press, 1997.
  7. ↑ Kilmurray: "Chronology of Travels," page 240, 1997.
  8. ↑ 'Wonderful indeed, but most wonderful that this wonderful performance should ever have been confused with that of an artist.' Prettejohn, page 73, 1998.
  9. ↑ 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.
  10. ↑ Ormond, page 169-171, 1998.
  11. ↑ Ormond, page 148, 1998.
  12. ↑ John Singer Sargent. Necropolis Notables. The Brookwood Cemetery Society. Retrieved 2007-02-23.
  13. ↑ The Age, 3 December, 2004

References
ISBN links support NWE through referral fees

  • Fairbrother, Trevor: John Singer Sargent: The Sensualist (2001), ISBN 0-300-08744-6
  • Kilmurray, Elainen: Sargent Abroad, Abbeville Press, 1997.
  • Noël, Benoît et Jean Hournon: Portrait de Madame X in Parisiana - la Capitale des arts au XIXème siècle, Les Presses Franciliennes, Paris, (2006).
  • Ormond, Richard: "Sargent's Art" in John Singer Sargent Tate Gallery, (1998).
  • Prettejohn, Elizabeth: Interpreting Sargent, Stewart, Tabori & Chang, (1998).
  • Rewald, John: Camille Pissarro: Letters to his Son Lucien, Routledge & Kegan Paul (1980).
  • Rewald, John: The John Hay Whitney Collection, National Gallery of Art, Washington (1983). ISBN 0-89468-066-8

External links

  • "Home Page", John Singer Sargent Virtual Gallery, Retrieved July 24, 2007.
  • "Sargent at Harvard", Harvard University Art Museums, Retrieved July 24, 2007.
  • "Home Page", The Sargent Murals at the Boston Public Library, Retrieved July 24, 2007.
  • "Sargent, John Singer", WebMuseum, Retrieved July 24, 2007.
  • "Home Page", John Singer Sargent- American Painter, Retrieved July 24, 2007.

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