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71:. The painting shows a young woman walking along the flagstones, kicking her skirt with her right foot, and observed by two men in the shadows to her left. From the manner in which Sargent depicts her down-turned eyes and seemingly fast pace with which she passes the two men, he is concerned largely with the invasive
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The woman is observed by one of two darkly coloured men huddled in conversation to the right of the frame. In the middle background a couple are seated outside of a cafe or bar, also deep in conversation. The couple are interested only in themselves, in contrast to the man. His gaze follows the girl,
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The painting is composed as a series of descending rectangles arranged in a near-telescopic manner, outside of which a section of blue sky lightens the claustrophobic tone marked by the descending angles which meet at the girl's head. It is largely rendered in monochrome, though there are touches of
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The painting is one of a number of
Venetian scenes painted or drawn by Sargent, who spent most of his life in Europe, during his time in the city. As in his other works, it largely ignores the architectural aspects the city is best known for and focuses instead on edgy back-street imagery. The
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are shown flowing, suggesting that she is moving quickly past them. The Venice setting is significant; the artist has placed the moment away from the cosmopolitan surroundings of London, Paris or New York – cities more familiar to him and which he considered more refined.
134:, who lived in Venice during 1880. Similar to Sargent's other Venetian scenes, the street is mostly darkened, the peripheral figures in shadow, while light spills on the buildings from the distance.
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167:(1816–1882), can be seen the way the painting is closely cropped, and in the almost photographic freeze-frame capturing of movement in a moment in time.
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is evident in a number of this work's features, especially in the broad brush strokes of her dress and the unusual cropping of the composition.
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red in the girl's head comb, dress and in the cafe behind her. However, overall the artist is more concerned with tone than colour.
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in Paris. It was purchased by
Elizabeth Chanler of Boston in 1888, who gave it to the American architect
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In composition and mood, the painting has been linked by the writer
Margaret Conrads to the earlier
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163:. That Sargent was influenced by photography of Venice, in particular by the works of
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manner, it is set in a quiet backstreet off the Calle Larga dei
Proverbi, near the
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American
Paintings and Sculpture at the Sterling and Francine Clark Art Institute
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against lighter ground used to give shape to the figures, it seems influenced by
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while her downcast eyes deliberately avoid their attention. Her shawl and skirt
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There are a number of similarly titled works by
Sargent painted during his stay
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in return for professional services. In 1962, the painting was acquired by the
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148:, 1875. Oil on canvas, 46 cm × 37.5 cm, Clark Art Institute,
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The
Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant
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Expanded Vision: John Singer
Sargent and his Italian Context
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Mrs. Fiske Warren (Gretchen Osgood) and Her
Daughter Rachel
286:". Daemen College, 2009. Retrieved on 27 February, 2010
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631:Bringing Down Marble from the Quarries to Carrara
434:Lady with the Rose (Charlotte Louise Burckhardt)
194:, Washington, where it is on permanent display.
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109:, 1880-81. This work contains similar use of
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282:Gawley, Tamblyn & Sommer, Laura Watts. "
182:was first exhibited in 1882 at the Galerie
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754:Paintings in the National Gallery of Art
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335:Fairbrother, Trevor. "The Sensualist".
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498:Egyptians Raising Water from the Nile
307:Adelson, Warren. In Ormond, Richard:
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75:and its effect on the passing woman.
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339:, Volume 30, Issue 7, December 2000.
204:List of works by John Singer Sargent
418:The Daughters of Edward Darley Boit
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759:Paintings by John Singer Sargent
538:Mr. and Mrs. I. N. Phelps Stokes
474:Reapers Resting in a Wheat Field
325:. Hudson Hills Press LLC, 1991.
273:. Retrieved on 25 February, 2010
55:painting by the American artist
671:General Officers of World War I
311:. Yale University Press, 2006.
155:In its use of broad dark areas
16:Painting by John Singer Sargent
690:Splendid Mountain Watercolours
1:
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506:Egyptian Woman with Earrings
721:Grand Central School of Art
716:Grand Central Art Galleries
490:Ellen Terry as Lady Macbeth
482:Portrait of Mrs. Cecil Wade
466:Carnation, Lily, Lily, Rose
59:(1856–1925). Painted in an
36:45.1 cm × 53.9 cm
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530:Portrait of Léon Delafosse
623:The Hermit (Il solitario)
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113:and geometrical framing
78:It is on display at the
48:A Street Scene in Venice
560:William M. Chase, N. A.
350:Exhibition history, NGA
271:National Gallery of Art
192:National Gallery of Art
80:National Gallery of Art
30:National Gallery of Art
267:Street in Venice, 1882
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514:Lady Agnew of Lochnaw
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545:Wertheimer portraits
522:Mrs. Hugh Hammersley
450:Portrait of Madame X
386:John Singer Sargent
321:Conrads, Margaret.
142:Crossing the Street
128:Crossing the Street
57:John Singer Sargent
458:The Misses Vickers
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107:A Street in Venice
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639:Tyrolese Interior
410:Dr. Pozzi at Home
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568:Lord Ribblesdale
442:Street in Venice
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132:Giovanni Boldini
84:Washington, D.C.
42:Street in Venice
34:Washington, D.C.
26:Street in Venice
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701:(1912–1914)
607:Alpine Pool
600: 1905
587:(1904–1906)
547:(1898–1908)
509:(1890–1891)
501:(1890–1891)
253:Adelson, 54
239:Adelson, 53
157:silhouetted
111:chiaroscuro
97:Description
65:Grand Canal
53:oil on wood
28:, c. 1882.
743:Categories
592:Arab Woman
210:References
175:Provenance
165:Carlo Naya
105:Sargent's
73:male glare
663:Synagogue
402:Paintings
161:Velázquez
682:Drawings
615:Cashmere
426:El Jaleo
198:See also
709:Related
302:Sources
693:(1870)
674:(1922)
666:(1919)
658:(1919)
655:Gassed
650:(1918)
642:(1915)
634:(1911)
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602:–1906)
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69:Venice
144:, by
327:ISBN
313:ISBN
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