John Singer Sargent - Knowledge (XXG)

4639: 782: 1521:", installed in late 1919, inspired a debate about whether the artist had represented Judaism in a stereotypical, or even an anti-Semitic, manner. 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 as a lovely, radiant young woman. He also failed to understand how these representations might be problematic for the Jews of Boston; he was both surprised and hurt when the paintings were criticized. The paintings were objectionable to Boston Jews since they seemed to show Judaism defeated, and Christianity triumphant. The Boston newspapers also followed the controversy, noting that while many found the paintings offensive, not everyone agreed. In the end, Sargent abandoned his plan to finish the murals, and the controversy eventually died down. 413: 765: 1007: 744: 529: 2000: 1708: 2018: 1450: 1693: 1819: 1742: 1364: 1562:. Biographers once portrayed him as staid and reticent. However, recent scholarship has theorised he was a private, complex and passionate man whose homosexual identity was integral to shaping his art. This view is based on statements by his friends and associates, the general alluring remoteness of his portraits, the way his works challenge 19th-century notions of gender difference, his previously ignored male nudes, and some male portraits, including those of Thomas E. McKeller, Bartholomy Maganosco, Olimpio Fusco, and that of aristocratic artist 392:, a German landscape painter. Although his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in English, French, Italian, and German. At seventeen, Sargent was described as "willful, curious, determined and strong" (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first-hand observation, as he wrote in 1874: "I have learned in Venice to admire 1499: 1131: 729: 1402: 459: 1928: 809: 899: 559: 1070:

studio, which was well-stocked with furniture and background materials he chose for proper effect. He usually required eight to ten sittings from his clients, although he would try to capture the face in one sitting. He usually 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 down oil paint directly. Finally, he would select an appropriate frame.

1285: 33: 1675: 952: 1723: 638: 551:, not portraiture, as evidenced by his voluminous sketches full of mountains, seascapes, and buildings. Carolus-Duran's expertise in portraiture finally influenced Sargent in that direction. Commissions for history paintings were still considered more prestigious, but were much harder to get. Portrait painting, on the other hand, was the best way of promoting an art career, getting exhibited in the 830:) (1884) is now considered one of his best works, and was his favorite; he stated in 1915: "I suppose it is the best thing I have done." When unveiled in Paris at the 1884 Salon, it aroused such a negative reaction that it likely prompted Sargent's move to London. Sargent's self-confidence had led him to attempt a risqué experiment in portraiture—but this time it unexpectedly backfired. 590: 1353: 1491:. He worked on the cycle for almost thirty years but never completed the final mural. Sargent drew on his extensive travels and museum visits to create a dense art historical mélange. The murals were most recently restored in 2003–2004 by a team from the Straus Center for Conservation and Technical Studies, 1966:

Memorial exhibitions of Sargent's 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. The Grand Central Art Galleries also organized a posthumous exhibition in 1928 of previously unseen sketches and drawings from

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After such a long period of critical disfavor, Sargent's reputation has increased steadily since the 1950s. In the 1960s, a revival of Victorian art and new scholarship directed at Sargent strengthened his reputation. Sargent has been the subject of large-scale exhibitions in major museums, including

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It has been suggested that Sargent's reputation in the 1890s as "the painter of the Jews" may have been due to his empathy with and complicit enjoyment of their mutual social foreignness. One such Jewish client, Betty Wertheimer, wrote that when in Venice, Sargent "was only interested in the Venetian

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had studied. Sargent was the star student in short order. Weir met Sargent in 1874 and noted that Sargent was "one of the most talented fellows I have ever come across; his drawings are like the old masters, and his color is equally fine". Sargent's excellent command of French and his superior talent

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Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home: "He is quite a close observer of animated nature." His mother was convinced that traveling around Europe, and visiting

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in Philadelphia from 1844 to 1854. After John's older sister died at the age of two, his mother, Mary Newbold Sargent (née Singer, 1826–1906), suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives. Although based in Paris,

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The exhibition in the 1980s of Sargent's previously hidden male nudes served to spark a reevaluation of his life and work, and its psychological complexity. In addition to the beauty, sensation and innovation of his oeuvre, his same-sex interests, unconventional friendships with women and engagement

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

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suggests that the decline of Sargent's reputation was due partly to the rise of anti-Semitism, and the resultant intolerance of 'celebrations of Jewish prosperity.' It has been suggested that the exotic qualities inherent in his work appealed to the sympathies of the Jewish clients whom he painted

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During Sargent's long career, he painted more than 2,000 watercolors, roving from the English 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

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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 twenty-five years. He filled in the gaps between commissions with

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led a chorus of the severest critics: "Sargent remained to the end an illustrator ... the most adroit appearance of workmanship, the most dashing eye for effect, cannot conceal the essential emptiness of Sargent's mind, or the contemptuous and cynical superficiality of a certain part of his

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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 late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful

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Sometime between 1917 and 1920, Sargent painted the portrait of Thomas E. McKeller, a young African-American elevator operator and WWI veteran. The canvas was kept in the painter's studio until his death and only began to be displayed permanently to the public in 1986 when it was acquired by the

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It took well over a year to complete the painting. 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 only, which made the

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In 1907, at the age of fifty-one, Sargent officially closed his studio. Relieved, he stated: "Painting a portrait would be quite amusing if one were not forced to talk while working.... What a nuisance having to entertain the sitter and to look happy when one feels wretched." In that same year,

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before him. After securing a commission through negotiations which he carried out, Sargent would visit the client's home 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's home, but more often in his

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with a passion, absorbing the master's technique, and in his travels gathered ideas for future works. He was entranced with Spanish music and dance. The trip also re-awakened his own talent for music (which was nearly equal to his artistic talent), and which found visual expression in his early

1157:, 1892) was equally well received for its lively depiction of one of London's most notable hostesses. As a portrait painter in the grand manner, Sargent had unmatched success; he portrayed subjects who were at once ennobled and often possessed of nervous energy. Sargent was referred to as "the 369:

epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife's request to remain abroad. They lived modestly on a small inheritance and savings, leading a quiet life with their

1254:, in 1902, finely attired in an elegant hunting uniform. Between 1900 and 1907, Sargent continued his high productivity, which included, in addition to dozens of oil portraits, hundreds of portrait drawings at about $ 400 each. In 1901, he purchased the next door property to his home in 1299:

in 1917, most critics began to consign him to the masters of the past, "a brilliant ambassador between his patrons and posterity". Modernists treated him more harshly, considering him completely out of touch with the reality of American life and with emerging artistic trends including

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many non-commissioned portraits of friends and colleagues. His fine manners, perfect French, and great skill made him a standout among the newer portraitists, and his fame quickly spread. He confidently set high prices and turned down unsatisfactory sitters. He mentored his friend

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From the beginning, Sargent's work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for its supposed superficiality. His commissioned works were consistent with the

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described his technique as "hard" and "almost 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. Henry James also gave the artist "a push to the best of my ability".

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At thirteen, his mother reported that John "sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist". At the age of thirteen, he received some watercolor lessons from

1003:. 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 use the word, he is too much under the influence of Carolus-Duran." 716:. As 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. One of his most widely exhibited and best loved works of the 1880s was 1857:, who at the 1926 Sargent retrospective in London dismissed Sargent's work as lacking aesthetic quality: "Wonderful indeed, but most wonderful that this wonderful performance should ever have been confused with that of an artist." And, in the 1930s, 1846:, 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. 703:

Sargent's best portraits reveal the individuality and personality of the sitters; his most ardent admirers think he is matched in this only by Velázquez, who was one of Sargent's great influences. The Spanish master's spell is apparent in Sargent's

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Sargent worked on the murals from 1895 through 1919; they were intended to show religion's (and society's) progress from pagan superstition up through the ascension of Christianity, concluding with a painting depicting Jesus delivering the

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completed one of his seventeen caricatures of Sargent, making well known to the public the artist's paunchy physique. Although only in his forties, Sargent began to travel more and to devote relatively less time to portrait painting. His

995:, also painting outdoors with his wife by his side. A photograph very similar to the painting suggests that Sargent occasionally used photography as an aid to composition. Through Helleu, Sargent met and painted the famed French sculptor 781: 1463:

As a concession to the insatiable 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

311:, was intended to consolidate his position as a society painter in Paris but instead resulted in scandal. During the year following the scandal, Sargent departed for England, where he continued a successful career as a portrait artist. 374:

museums and churches, would give young Sargent a satisfactory education. Several attempts to have him formally schooled failed, owing mostly to their itinerant life. His mother was a capable amateur artist and his father was a skilled

764: 1955:, until his death in 1925. The Galleries held a major retrospective exhibit of Sargent's work in 1924. He then returned to England, where he died at his Chelsea home on April 14, 1925, of heart disease. Sargent is interred in 447:, the premier art school in France. He took drawing classes, which included anatomy and perspective, and gained a silver prize. He also spent much time in self-study, drawing in museums and painting in a studio he shared with 886:, and the Spanish expatriate model Carmela Bertagna, but the earlier pictures had not been intended for broad public reception. Sargent kept the painting prominently displayed in his London studio until he sold it to the 630:(1882). Music would continue to play a major part in his social life as well, as he was a skillful accompanist of both amateur and professional musicians. Sargent became a strong advocate for modern composers, especially 1999: 843:

overall effect more daring and sensual. Sargent repainted the strap to its expected over-the-shoulder position to try to dampen the furor, but the damage had been done. French commissions dried up and he told his friend

2837: 1570:, following a coincidence of dates for Sargent drawing each of them separately around the same time, and the delicate pose suggestive more of Sargent's sketches of the male form than his often stiff commissions. 1566:, which hung in his Chelsea dining room. Sargent had a long friendship with Belleroche, whom he met in 1882 and traveled with frequently. A surviving drawing suggests Sargent might have used him as a model for 1421:, 1906). His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the 837:

I have a great desire to paint her portrait and have reason to think 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 prodigious

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In 1879 at the age of 23, Sargent painted a portrait of his teacher Carolus-Duran; the virtuoso effort met with public approval and announced the direction his mature work would take. Its showing at the

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In 1898, Asher Wertheimer, a wealthy Jewish art dealer living in London, commissioned from Sargent a series of a dozen portraits of his family, the artist's largest commission from a single patron. The

485:. It was an approach that relied on the proper placement of tones of paint. Sargent would later create a painting in this style that prompted comments such as: "The student has surpassed the teacher." 4884: 1273:, an accomplished painter in her own right, and Violet Sargent (Mrs Ormond) and also Violet's daughters Rose-Marie and Reine, who were the subject of a number of paintings between 1906 and 1913 like 1441:, 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. 1223:

reveal a pleasant familiarity between the artist and his subjects. Even though Wertheimer bequeathed most of the paintings to the National Gallery, nowadays they are on display at the Tate Britain.

1054:, revealed her character in one of his most insightful works. In Boston, Sargent was honored with his first solo exhibition, which presented 22 of his paintings. Here he became friends with painter 4512: 3562:

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 (1927), p. 252.

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Sargent's first major portrait was of his friend Fanny Watts in 1877, and was also his first Salon admission. Its particularly well-executed pose drew attention. His second salon entry was the

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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. Sargent exhibited nine of his portraits in the

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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:

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Part of Sargent's devaluation is also attributed to his expatriate life, which made him seem less American at a time when "authentic" socially conscious American art, as exemplified by the

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to American parents, he was trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter. An early submission to the

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To live with Sargent's water-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 noon".

1328:. McKeller also posed as a model for the mythological murals that Sargent painted at the stairway and the rotunda of the MFA Boston and for the World War I memorial murals at Harvard's 743: 5146: 2087:

premiered Damien Geter and Lila Palmer's "American Apollo," an opera about John Singer Sargent's supposed affair with Thomas Eugene McKeller (1890-1962), one of his favorite models.

1707: 436:. Following a meteoric rise, the artist was noted for his bold technique and modern teaching methods; his influence would be pivotal to Sargent during the period from 1874 to 1878. 1908:

commented to Sargent scholar Trevor Fairbrother that Sargent "made everybody look glamorous. Taller. Thinner. But they all have mood, every one of them has a different mood." In a

1386:. His colors were sometimes extremely vivid and as one reviewer noted: "Everything is given with the intensity of a dream." In the Middle East and North Africa Sargent painted 370:

children. They generally avoided society and other Americans, except for friends in the art world. Four more children were born abroad, of whom only two lived past childhood.

1993:(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. 1795:, 1897, Metropolitan Museum of Art, New York) and earned Sargent the moniker, "the Van Dyck of our times". In 1916, he was awarded an honorary degree by Harvard University. 1582:, who was one of his early sitters, said after Sargent's death that his sex life "was notorious in Paris, and in Venice, positively scandalous. He was a frenzied bugger." 1357: 1250:

did not approve of the looseness of Sargent's brushwork, which he summed up as "smudge everywhere". One of Sargent's last major portraits in his bravura style was that of

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in 1885, Sargent painted one of his most Impressionistic portraits, of Monet at work painting outdoors with his new bride nearby. Sargent is usually not thought of as an

4963: 2220: 4766: 1692: 771: 718: 412: 2461: 2017: 146: 1660:, whom Sargent portrayed with Monet's wife "by the edge of a wood". Between 1905 and 1914, Sargent's frequent traveling companions were the married artist couple 2136:"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 (1998), p. 34. 936:

Notwithstanding the Madame X scandal, he had considered moving to London as early as 1882; he had been urged to do so repeatedly by his new friend, the novelist

5176: 4709: 1336: 1783:. His seemingly effortless facility for paraphrasing the masters in a contemporary fashion led to a stream of commissioned portraits of remarkable virtuosity ( 1487:

that grace the Boston Public Library, depicting the history of religion and the gods of polytheism. They were attached to the walls of the library by means of

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failed, as the school was reorganizing at the time. After returning to Paris from Florence, Sargent began his art studies with the young French portraitist

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of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son's interest in ships and the sea might lead him toward a naval career.

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fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in

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is rendered in his own version of the Impressionist style. In the 1880s, he attended the Impressionist exhibitions and he began to paint outdoors in the

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Back in London, Sargent was quickly busy again. His working methods were by then well-established, following many of the steps employed by other master

101: 4611: 1006: 3477: 1612:, of both of whom he painted portraits, and Gardner also commissioned and purchased works from Sargent and sought his advice on other acquisitions. 1525: 1165: 4564: 3803: 378:. Early on, she gave him sketchbooks and encouraged drawing excursions. Sargent worked on his drawings, and he enthusiastically copied images from 5121: 5106: 5101: 929:(1883). The ensuing portrait commissions encouraged Sargent to complete his move to London in 1886, where he settled in the artistic community of 616:

wrote that the artist offered "the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn".

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English critics were not warm at first, faulting Sargent for his "clever" "Frenchified" handling of paint. One reviewer seeing his portrait of

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expense to have Sargent paint their portrait. The range of pigments regularly used by Sargent was: "Mars yellow (a synthetic iron oxide) and

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Boston's Apollo: Thomas McKeller and John Singer Sargent, February 13-October 12, 2020, Hostetter Gallery, Isabella Stewart Gardner Museum

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published a satirical turn under the heading "Sargentolatry". By the time of his death he was dismissed as an anachronism, a relic of the

451:. He became both a valuable friend and Sargent's primary connection with the American artists abroad. Sargent also took some lessons from 1199:. Marquand served as the second president of the museum, and was instrumental in its founding. In 1888, Sargent released his portrait of 1046:

His first trip to New York and Boston as a professional artist in 1887–88 produced over 20 important commissions, including portraits of

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costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (

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In the early 1880s, Sargent regularly exhibited portraits at the Salon, and these were mostly full-length portrayals of women, such as

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luxury. He created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His

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was progressive, dispensing with the traditional academic approach, which required careful drawing and underpainting, in favor of the

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praised Sargent as "the unrivaled recorder of male power and female beauty in a day that, like ours, paid excessive court to both".

1211:, by Sargent, as a wedding gift. Jean Zimmerman documents the creation of the Stokes portrait in her dual biography of the couple, 358:

Sargent's parents moved regularly, spending seasons at the sea and at mountain resorts in France, Germany, Italy, and Switzerland.

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Upon his return to England in 1918 after a visit to the United States, Sargent was commissioned as a war artist by the British

1518: 1169: 600: 4648: 3194:"Jenna Weissman Joselit: Restoring the 'American Sistine Chapel'... How Sargent's 'Synagogue' Provoked a Nation – Forward.com" 3109: 1674: 1058:, who traveled to England in the summer of 1888 to paint with him en plein air, and is the subject of Sargent's 1888 painting 5022: 4518: 4363: 4230: 4063: 3020: 1878: 1153: 337:

with race, gender nonconformity and emerging globalism are now viewed as socially and aesthetically progressive and radical.

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decorative artist to whom the human form is forbidden and who, wishing to be reminded of woman, has drawn the delicious

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painting of which he made two copies, one of which he sent back to the United States, and both received warm reviews.

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American Drawings and Watercolors in the Metropolitan Museum of Art: A Catalogue of Works by Artists Born Before 1835

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John Singer Sargent, Miss M. Carey Thomas, July 1899, oil on canvas, Bryn Mawr College Art and Artifact Collections

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Sargent painted his modest and serious self-portrait, his last, for the celebrated self-portrait collection of the

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manner after that visit to Monet. Sargent purchased four Monet works for his personal collection during that time.

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may have tipped into infatuation. As a young man, Sargent also for a time courted Louise Burkhardt, the model for

1308:. Sargent quietly accepted the criticism, but refused to alter his negative opinions of modern art. He retorted: " 4955: 4677: 2718: 1621: 1140: 645: 350: 349:, a colonial military leader and jurist. Before John Singer Sargent's birth, his father, FitzWilliam (b. 1820 in 4480: 493: 4528: 3481: 3129: 2209: 1898: 1890: 1609: 1047: 1032: 871: 2774: 1579: 1130: 4605: 4541: 3904:

Adelson, Warren; Seldin Janis, Donna; Kilmurray, Elaine; Ormond, Richard; Oustinoff, Elizabeth, eds. (1997).

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Redemption Achieved: John Singer Sargent's Crucifixion of Christ with Adam and Eve and Its Place in His Work

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Sargent spent much time painting outdoors in the English countryside when not in his studio. On a visit to

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was both a tribute to his teacher and an advertisement for portrait commissions. Of Sargent's early work,

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All of Sargent's murals are to be found in the Boston/Cambridge area in Massachusetts. They are in the

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In the 1890s, he averaged fourteen portrait commissions per year, none more beautiful than the genteel

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Gallati, Barbara Dayer (2015). "John Singer Sargent's International Network of Artists and Muses", in

3219: 1951:, and others. Sargent actively participated in the Grand Central Art Galleries and their academy, the 5086: 5081: 4877: 4854: 4782: 4585: 4260: 4158: 2864:"Mr. and Mrs. I. N. Phelps Stokes, 1897, by John Singer Sargent (American, 1856–1925). Oil on canvas" 2369: 2050: 2041: 1843: 1811: 1649: 1629: 1617: 1563: 1559: 1220: 1204: 1055: 992: 814: 803: 788: 536: 506: 307: 172: 4673: 2761: 925:(1881), a flamboyant essay in red and his first full-length male portrait, and the more traditional 5171: 4947: 4573: 4029: 3874: 3322: 3236: 3233:"Too 'dangerous' for Henry James: Violet Paget, the radical lesbian writer who shook the art world" 1780: 1665: 1514: 1492: 1296: 1208: 661: 375: 2080:, London. It was based on the Sargent and fashion exhibits at those two museums in 2023 and 2024. 1927: 1382:

His hundreds of watercolors of Venice are especially notable, many done from the perspective of a

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Around 1890, Sargent painted two daring non-commissioned portraits as show pieces—one of actress

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In 1874, Sargent passed on his first attempt the rigorous exam required to gain admission to the

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John Singer Sargent's Triumph of Religion at the Boston Public Library: Creation and Restoration

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After leaving Carolus-Duran's atelier, Sargent visited Spain. There he studied the paintings of

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of portraiture, while his informal studies and landscape paintings displayed a familiarity with

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In 1925, shortly before he died, Sargent painted his last oil portrait, a canvas of aristocrat

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portrait studio, he painted with restless intensity, often painting from morning until night.

1066: 921: 903: 898: 656:, which effectively captured gestures and postures he would find useful in later portraiture. 501: 4659:

Sargent and Spain, National Gallery of Art, Washington, DC, October 2, 2022 – January 2, 2023

722:(1882), a portrait of Charlotte Burckhardt, a close friend and possible romantic attachment. 4916: 4774: 4643: 4173: 1866: 1854: 1799: 1749: 1661: 1390:, goatherds, and fishermen. In the last decade of his life, he produced many watercolors in 631: 259: 228: 3861:"John Singer Sargent: Fashion & Swagger review – exploring the artist’s work in style". 3432:

Kilmurray, Elaine (1997). "Chronology of Travels". In Adelson, Warren; et al. (eds.).

1798:

Still, during his life his work engendered negative responses from some of his colleagues:

4615: 4568: 4559: 4532: 4400: 4198:; Kilmurray, Elaine; Zorzi, Rosella Mamoli; Ormond, Richard; Oustinoff, Elizabeth (2006). 4177: 3997: 3513: 3403:

Kilmurray, Elaine (1997). "Traveling Companions". In Adelson, Warren; et al. (eds.).

3133: 2154: 1909: 1480: 1422: 1371: 1329: 1242: 930: 653: 540: 32: 4664:

Sargent and Spain, Legion of Honor, San Francisco, California, February 11 – May 14, 2023

3110:"Exhibitions – 1916, Royal Society of Portrait Painters, hosted at the Grafton Galleries" 4365:

American Drawings and Watercolors in the Metropolitan Museum of Art: John Singer Sargent

3263: 2840:. Studios and portraits – Queensland Art Gallery – Gallery of Modern Art. Archived from 2796: 1585:

He had many relationships with women. It has been suggested that those with his sitters

1538:. Sargent had been affected by the death of his niece Rose-Marie in the shelling of the 1240:(1900), a portrait of four members of the Curtis family in their elegant palatial home, 5060: 4191: 4121: 3927: 2172: 2037: 1960: 1944: 1803: 1768: 1684: 1594: 1586: 1426: 1263: 1188: 1183:(1885), was one of his best known. He also completed portraits of two U.S. presidents: 1087: 1075: 879: 851: 452: 38: 4668: 4663: 4023: 3613: 1901:

in San Francisco, California, hosted an exhibition of Sargent's paintings from Spain.

951: 5075: 4669:

Fashioned by Sargent, Museum of Fine Arts, Boston, October 8, 2023 – January 15, 2024

4390: 3495: 3153:"New Painting at Public Library Stirs Jews to Vigorous Protest". Donald Hendersonsyn 2111: 1870: 1858: 1756: 1438: 1395: 1270: 1124: 1051: 1000: 996: 975: 916: 908: 578: 563:

Fishing for Oysters at Cançale (a.k.a. En route pour la pêche or Setting Out to Fish)

548: 514: 497: 433: 320: 263: 214: 4630: 4580: 4552: 4490: 2863: 890:

in 1916 after moving to the United States, and a few months after Gautreau's death.

4619: 4308:

The Street of Wonderful Possibilities: Whistler, Wilde & Sargent in Tite Street

3464: 2077: 1657: 1555: 1232: 1114: 1040: 1014: 984: 967: 959: 878:

Prior to the Madame X scandal of 1884, Sargent had painted exotic beauties such as

844: 637: 518: 489: 397: 329: 316: 915:

Before arriving in England, Sargent began sending paintings for exhibition at the

462:

Fanny Watts, Sargent's childhood friend. The first painting at Paris Salon, 1877,

4939: 4168: 3931: 3171: 2838:"John Singer Sargent 1856–1925. Mr and Mrs IN Phelps Stokes 1897, Oil on canvas" 1905: 1605: 1551: 1535: 1414: 1255: 1110: 1099: 1095: 1091: 937: 712: 613: 609: 552: 510: 302: 3021:"Boston's Apollo: Thomas McKellery and John Singer Sargent by Nathaniel Silver" 2978:"Rose-Marie Ormond Sargent's Muse and 'the Most Charming Girl That Ever Lived'" 978:

painter, but he sometimes used impressionistic techniques to great effect. His

4653: 4553:

John Singer Sargent Letters Online at the Smithsonian Archives of American Art

1807: 1488: 1119: 1083: 589: 476: 393: 255: 1822:

Sargent emphasized Almina Wertheimer's exotic beauty in 1908 by dressing her

1050:, the famed Boston art patron. His portrait of Mrs. Adrian Iselin, wife of a 652:

Trips to Italy provided sketches and ideas for several Venetian street-scene

488:

This approach also permitted spontaneous flourishes of color not bound to an

116: 103: 3038: 1850: 1824: 1620:

were also friends and supporters of Sargent. His associations also included

1036: 940:. In retrospect his transfer to London may be seen to have been inevitable. 3193: 481:

method of working directly on the canvas with a loaded brush, derived from

1550:

Sargent was a life-long bachelor with a wide circle of friends, including

1352: 4758: 3736: 3631: 2866:. Heilbrunn Timeline of Art History, The Metropolitan Museum of Art. 2011 2706: 2146: 1810:

and out of step with the artistic sentiments of post-World War I Europe.

1776: 1387: 1343:, in Manchester, New Hampshire, where it has been on display since then. 1317: 1305: 1158: 1079: 867: 626: 594: 362: 298: 179: 64: 4547: 4080:"New Painting at Boston Public Library Stirs Jews to Vigorous Protest". 3653:

Fairbrother, Trevor (February 1987). "Warhol Meets Sargent at Whitney".

1849:

Foremost of Sargent's detractors was the influential English art critic

3825: 1760: 1575: 1383: 1313: 971: 859: 847:

in 1885 that he contemplated giving up painting for music or business.

470: 366: 291: 283: 4687: 4437:

John Singer Sargent's Alpine Sketchbooks: A Young Artist's Perspective

2705:

Fairbrother (1994), p. 76, price updated by CPI calculator to 2008 at

1269:

Sargent made several summer visits to the Swiss Alps with his sisters

4484: 1839: 1764: 1309: 1301: 1103: 991:

Sargent was similarly inspired to do a portrait of his artist friend

863: 401: 271: 4674:

Sargent and Fashion, Tate Britain, London, 22 February – 7 July 2024

4523: 4495: 4022:

Khandekar, Narayan; Pocobene, Gianfranco; Smith, Kate, eds. (2009).

4014:

Joselit, Jenna Weissman. "Restoring the American 'Sistine Chapel'".

1802:

wrote "he is not an enthusiast but rather an adroit performer", and

3126: 3290:

Moss, Dorothy, "John Singer Sargent, 'Madame X' and 'Baby Millbank

1926: 1817: 1740: 1497: 1448: 1400: 1391: 1362: 1283: 1129: 1005: 950: 897: 883: 807: 636: 588: 557: 527: 457: 411: 324: 287: 279: 275: 3933:

John Sargent: With Reproductions from His Paintings and Drawings

3875:

https://www.gardnermuseum.org/calendar/exhibition/bostons-apollo

3690: 3688: 3077: 3075: 1291:, 1911. The model is Rose-Marie Ormond Michel, Sargent's niece. 4691: 505:

made him both popular and admired. Through his friendship with

4885:

The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant

2165: 2163: 1881:

in 1986 and a major 1999 traveling show that exhibited at the

243: 4263:; Barón, Javier; Sharpe, Chloe; Southwick, Catherine (2022). 3676:"Painters and Sculptors' Gallery Association to Begin Work", 3549: 3547: 3220:"At Home with Wilde, Sargent, and Whistler", Londonist, 2014 2332: 2330: 1978:

was sold in 2004 for US$ 8.8 million and is located at

492:. It was markedly different from the traditional atelier of 237: 4909:

Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel

4095:. Paris: Les Presses Franciliennes, 2006. pp. 100–105. 4050:

Lehmann-Barclay, Lucie. "Public Art, Private Prejudice".

3889:

https://desmoinesmetroopera.org/productions/americanapollo/

1842:

costume, a pearl encrusted turban, and strumming an Indian

1554:(with whom he was neighbors for several years), gay author 1437:

Although not generally accorded the critical respect given

1231:

By 1900, Sargent was at the height of his fame. Cartoonist

1483:. Sargent's largest scale works are the mural decorations 999:

in 1884, a rather somber portrait reminiscent of works by

700:(1881). He continued to receive positive critical notice. 254:; January 12, 1856 – April 14, 1925) was an American 240: 4507: 4289:

John Singer Sargent and His Muse: Painting Love and Loss

1320:, these are now my admirations, these are what I like." 509:, Sargent would meet giants of the art world, including 4626:

Artist John Singer Sargent's strong interest in framing

2762:

John Singer Sargent at the World's Columbian Exposition

4654:

John Singer Sargent: Secrets of Composition and Design

3966:

Strapless: John Singer Sargent and the Fall of Madam X

2344: 2342: 2170:

Schulze, Franz (1980). "J. S. Sargent, Partly Great".

4362:

Herdrich, Stephanie L.; Weinberg, H. Barbara (2000).

2068:

In 2024, Exhibition on Screen produced a documentary

1534:

and in many watercolors, he depicted scenes from the

396:

immensely and to consider him perhaps second only to

234: 2797:"John Singer Sargent | Henry G. Marquand | American" 710:, 1882, a haunting interior that echoes Velázquez's 246: 5041: 5014: 4734: 1832:Nowhere is this more apparent than in his portrait 231: 210: 162: 154: 140: 132: 91: 75: 46: 23: 4333:The Grand Affair: John Singer Sargent in His World 4259:Cash, Sarah; Heller, Nancy G.; Kilmurray, Elaine; 3905: 3696: 3433: 3404: 1755:In a time when the art world focused, in turn, on 4964:Bringing Down Marble from the Quarries to Carrara 4767:Lady with the Rose (Charlotte Louise Burckhardt) 4181:, p. 183. Routledge & Kegan Paul, 1980. 4093:Parisiana: La Capitale des arts au XIXème siècle 2889:. New York: Houghton Mifflin. pp. 119–130. 1127:, and was made a full member three years later. 1039:. The painting was immediately purchased by the 1025:came in 1887, with the enthusiastic response to 772:Lady with the Rose (Charlotte Louise Burckhardt) 555:, and gaining commissions to earn a livelihood. 4165:. Stewart, Tabori & Chang, 1998, p. 9. 3502:in 1902. Ormond & Kilmurray (1998), p. 150. 3478:"The Fountain, Villa Torlonia, Frascati, Italy" 3346:Sargent's Muses: Was Madam X Actually a Mister? 3127:The Sargent Murals at the Boston Public Library 2384: 2382: 2356: 2354: 2102: 2100: 2006:Portrait of Robert Louis Stevenson and His Wife 1976:Portrait of Robert Louis Stevenson and his Wife 1838:(1908), in which the subject is seen wearing a 1517:. But Sargent's paintings of "The Church" and " 1431: 1181:Portrait of Robert Louis Stevenson and his Wife 1175:Sargent painted a series of three portraits of 856: 835: 664:, who was learning to paint portraits in oils. 5142:Recipients of the Pour le Mérite (civil class) 4422:(Masterpiece ed.). New York: Abbeville Press. 3977:. Seattle Art Museum / Yale University Press. 1195:commissioned Sargent to produce a portrait of 1151:, 1892. His portrait of Mrs. Hugh Hammersley ( 4703: 4239:Welcome to Fairyland: Queer Miami Before 1940 3461:"Claude Monet Painting by the Edge of a Wood" 1628:. Other artists Sargent associated with were 1337:Grace Curzon, Marchioness Curzon of Kedleston 1295:By the time Sargent finished his portrait of 792:, 1884, Metropolitan Museum of Art, New York. 474: 8: 4481:113 artworks by or after John Singer Sargent 3735:. Brookwood Cemetery Society. Archived from 2057:The works of Sargent feature prominently in 1939:In 1922, Sargent co-founded New York City's 1339:. The painting was purchased in 1936 by the 440: 144: 5147:American alumni of the École des Beaux-Arts 4132:Ormond, Richard; Kilmurray, Elaine (1998). 3541:, p. 183. Routledge & Kegan Paul, 1980. 3539:Camille Pissarro: Letters to his Son Lucien 2719:"John Singer Sargent's Painting Techniques" 2221:Appletons' Cyclopædia of American Biography 2176:. Vol. 68, no. 2. pp. 90–96. 1358:Watercolor paintings by John Singer Sargent 980:Claude Monet Painting at the Edge of a Wood 956:Claude Monet Painting by the Edge of a Wood 4710: 4696: 4688: 4565:"Sargent and the Sea at the Royal Academy" 3259: 3257: 3255: 2971: 2969: 2376:, p. 9. Stewart, Tabori & Chang, 1998. 2070:John Singer Sargent: Fashion & Swagger 1604:Sargent's friends and supporters included 1123:. Sargent was elected an associate of the 1090:, both alone and mixed; madder; synthetic 858:Is it a woman? a chimera, the figure of a 539:sketching with his wife Alice Guérin. The 31: 20: 4335:. New York: Farrar, Straus & Giroux. 4287:Corsano, Karen; Williman, Daniel (2014). 3264:Failing, Patricia, "The Hidden Sargent", 866:coat of arms or perhaps the work of some 361:While Mary was pregnant, they stopped in 262:of his generation" for his evocations of 147:École nationale supérieure des Beaux-Arts 4649:John Singer Sargent at the Jewish Museum 4440:. New York: Metropolitan Museum of Art. 3782:"Sargent Sketches in New Exhibit Here". 3318:"The secret life of John Singer Sargent" 2696:Ormond & Kilmurray (1998), p. xxiii. 4601:John Singer Sargent exhibition catalogs 3850:. San Antonio, Texas: Overtime Theater. 3759:"Tate – Website undergoing maintenance" 3144:Khandekar, Pocobene & Smith (2009). 2577:Cited in Ormond (1998), pp. 27–8, 1998. 2096: 1995: 1792:Mr. and Mrs. Isaac Newton Phelps-Stokes 1670: 1398:, of fauna, flora, and native peoples. 1060:Dennis Miller Bunker Painting at Calcot 812:John Singer Sargent in his studio with 724: 4060:The Watercolors of John Singer Sargent 3908:Sargent Abroad: Figures and Landscapes 3436:Sargent Abroad: Figures and Landscapes 3407:Sargent Abroad: Figures and Landscapes 3381: 3278: 2660:Ormond & Kilmurray (1998), p. 151. 2585: 2583: 2550:Ormond & Kilmurray (1998), p. 113. 2523:Ormond & Kilmurray (1998), p. 114. 2010:Crystal Bridges Museum of American Art 1980:Crystal Bridges Museum of American Art 1714:Life Study (Study of an Egyptian Girl) 1117:and one of the popular Spanish dancer 4831:Egyptians Raising Water from the Nile 4640:Works by or about John Singer Sargent 4350:. London: National Portrait Gallery. 4348:John Singer Sargent: Painting Friends 3949:. Adelson Galleries. pp. 11–23. 3335:Ormond & Kilmurray (1998), p. 88. 2775:"Robert Louis Stevenson and His Wife" 1771:, which made brilliant references to 1021:Sargent's first major success at the 850:Writing of the reaction of visitors, 7: 5177:Artists of the Boston Public Library 4128:, pp. 25–7. Tate Gallery, 1998. 2887:Love, Fiercely: A Gilded Age Romance 1835:Almina, Daughter of Asher Wertheimer 1767:, Sargent practiced his own form of 1082:and emerald green, sometimes mixed; 674:List of works by John Singer Sargent 4751:The Daughters of Edward Darley Boit 4606:A video discussion about Sargent's 4508:John Singer Sargent Virtual Gallery 4326:John Singer Sargent: The Male Nudes 3975:John Singer Sargent: The Sensualist 3772:"Taken from Sargent's Sketchbook". 3411:. Abbeville Press. pp. 57–58. 1897:in Washington, DC, and in 2023 the 1408:, c. 1907, Private Collection. 707:The Daughters of Edward Darley Boit 547:Sargent's early enthusiasm was for 418:The Daughters of Edward Darley Boit 187:The Daughters of Edward Darley Boit 5187:20th-century American male artists 5182:19th-century American male artists 5157:Royal Society of Portrait Painters 5137:National Academy of Design members 4517:– archived searchable database by 4243:University of North Carolina Press 3231:Everett, Lucinda (March 8, 2018). 2492:Ormond, Richard: "Sargent's Art", 1887:National Gallery of Art Washington 1877:a retrospective exhibition at the 1466:Royal Society of Portrait Painters 919:. These included the portraits of 775:, 1882, Metropolitan Museum of Art 14: 4101:John Singer Sargent: His Portrait 3571:Ormond (1998), pp. 169–171, 1998. 3372:Fairbrother (2000), p. 139, n. 4. 3363:Fairbrother (2000), p. 220, n. 7. 2467:. Brooklyn Museum. Archived from 1246:, was a resounding success. But, 270:documents worldwide travel, from 4871:Mr. and Mrs. I. N. Phelps Stokes 4807:Reapers Resting in a Wheat Field 4328:. New York: Universe Pub., 1999. 3440:. Abbeville Press. p. 240. 2044:wrote, directed, and starred in 2016: 1998: 1721: 1706: 1691: 1673: 1351: 780: 763: 742: 727: 258:artist, considered the "leading 227: 5004:General Officers of World War I 4596:Smithsonian American Art Museum 4084:, November 9, 1919, p. 48. 3695:Roberts, Norma J., ed. (1988). 3298:, May 2001, Vol. 143, No. 1178. 2752:Ormond (1998), pp. 28–35, 1998. 2597:. Victoria County History, 2004 2496:, pp. 25–7. Tate Gallery, 1998. 1915:article from the 1980s, critic 1546:Relationships and personal life 1191:. In 1896, the Trustees of the 737:, 1879, National Gallery of Art 601:Isabella Stewart Gardner Museum 5122:American expatriates in France 5107:20th-century American painters 5102:19th-century American painters 5023:Splendid Mountain Watercolours 4678:"What John Singer Sargent Saw" 4519:Harvard University Art Museums 4504:at Brigham Young Museum of Art 4087:Noël, Benoît; Hournon, Jean. " 4064:University of California Press 4054:, January 7, 2005, p. 11. 2801:The Metropolitan Museum of Art 2024:Group with Parasols (A Siesta) 1991:Group with Parasols (A Siesta) 1879:Whitney Museum of American Art 1542:, Paris, on Good Friday 1918. 1: 5202:American Orientalist painters 5132:Burials at Brookwood Cemetery 5127:American emigrants to England 4929: 4491:Biography, Style and Artworks 4459:. Wolverhampton: Twin Books. 4407:. New York: Abbeville Press. 3912:. New York: Abbeville Press. 3842:Madame X: A Burlesque Fantasy 3657:. No. 6. pp. 64–71. 3514:"History of honorary degrees" 3168:"BPL - Art -- Sargent Murals" 3060:Prettejohn (1998), pp. 66–69. 2678:Fairbrother (1994), pp. 70–2. 2462:"Emil Fuchs papers 1880–1931" 2046:Madame X: A Burlesque Fantasy 1326:Museum of Fine Arts in Boston 1258:, to create a larger studio. 822:His most controversial work, 753: 353:), was an eye surgeon at the 4839:Egyptian Woman with Earrings 4631:Works by John Singer Sargent 3992:Fairbrother, Trevor (1994). 3973:Fairbrother, Trevor (2001). 3968:. Tarcher. ASIN: B015QKNWS0. 3081:Ormond (1998), p. 276, 1998. 2909:Ormond (1998), p. 148, 1998. 2764:, World's Fair Chicago 1893. 2215:"Sargent, Paul Dudley" 1170:World's Columbian Exposition 684:Nineteenth-century portraits 345:Sargent was a descendant of 16:American painter (1856–1925) 5197:People from Chelsea, London 5054:Grand Central School of Art 5049:Grand Central Art Galleries 4823:Ellen Terry as Lady Macbeth 4815:Portrait of Mrs. Cecil Wade 4799:Carnation, Lily, Lily, Rose 4608:Carnation, Lily, Lily, Rose 4544:– News, biography and works 4310:. London: Frances Lincoln. 4291:. Rowman & Litchfield. 4134:Sargent: Complete Paintings 3667:Fairbrother (1994), p. 145. 3589:Fairbrother (1994), p. 141. 3580:Fairbrother (1994), p. 140. 3069:Fairbrother (1994), p. 148. 3010:Fairbrother (1994), p. 133. 3001:Fairbrother (1994), p. 131. 2963:Fairbrother (1994), p. 124. 2945:Fairbrother (1994), p. 118. 2936:Fairbrother (1994), p. 101. 2615:Ormond (1998), p. 28, 1998. 2505:Ormond (1998), p. 27, 1998. 2074:Museum of Fine Arts, Boston 1953:Grand Central School of Art 1941:Grand Central Art Galleries 1883:Museum of Fine Arts, Boston 1458:Museum of Fine Arts, Boston 1227:Twentieth-century portraits 1028:Carnation, Lily, Lily, Rose 1011:Carnation, Lily, Lily, Rose 575:Oyster Gatherers of Cançale 428:An attempt to study at the 423:Museum of Fine Arts, Boston 381:The Illustrated London News 194:Carnation, Lily, Lily, Rose 5218: 5112:American portrait painters 4863:Portrait of Léon Delafosse 4498:– gallery of 809 paintings 4434:Rubin, Stephen D. (1991). 4370:Metropolitan Museum of Art 3157:, November 9, 1919, p. 48. 2918:Fairbrother (1994), p. 97. 2743:Fairbrother (1994), p. 79. 2669:Fairbrother (1994), p. 68. 2642:Fairbrother (1994), p. 61. 2624:Fairbrother (1994), p. 43. 2568:Fairbrother (1994), p. 55. 2559:Fairbrother (1994), p. 47. 2532:Fairbrother (1994), p. 45. 2514:Fairbrother (1994), p. 40. 2442:Fairbrother (1994), p. 33. 2397:Fairbrother (1994), p. 16. 2336:Fairbrother (1994), p. 13. 1193:Metropolitan Museum of Art 888:Metropolitan Museum of Art 801: 671: 464:Philadelphia Museum of Art 282:, Spain, the Middle East, 4956:The Hermit (Il solitario) 4725: 4558:December 6, 2010, at the 4418:Ratcliff, Carter (2023). 4397:. New York: W. W. Norton. 4052:Christian Science Monitor 3553:Prettejohn (1998), p. 73. 2982:Journal of Art in Society 2651:Olson (1986), plate XVIII 2415:Prettejohn (1998), p. 13. 2406:Prettejohn (1998), p. 14. 2147:New Orleans Museum of Art 1622:Prince Edmond de Polignac 1203:, great-granddaughter of 1141:Scottish National Gallery 750:Madame Ramón Subercaseaux 698:Madame Ramón Subercaseaux 646:Thyssen-Bornemisza Museum 441: 351:Gloucester, Massachusetts 145: 30: 4676:Review: LaBarge, Emily; 4614:October 7, 2014, at the 4237:Capó, Julio Jr. (2017). 4217:Avery, Kevin J. (2002). 3699:The American Collections 3198:The Jewish Daily Forward 2885:Zimmerman, Jean (2012). 2224:. New York: D. Appleton. 1789:, 1885, Musées de Metz; 1644:(who also worked on the 1610:Isabella Stewart Gardner 1528:. In his large painting 1454:Atlas and the Hesperides 1201:Alice Vanderbilt Shepard 1048:Isabella Stewart Gardner 735:Madame Edouard Pailleron 690:Madame Edouard Pailleron 365:, Tuscany, because of a 5117:American watercolorists 4893:William M. Chase, N. A. 4269:National Gallery of Art 4099:Olson, Stanley (1986). 3964:Davis, Deborah (2003). 3945:Davis, Deborah (2003). 3938:Charles Scribner's Sons 3296:The Burlington Magazine 2153:April 20, 2008, at the 1967:throughout his career. 1895:National Gallery of Art 1893:, London. In 2022, the 1526:Ministry of Information 567:National Gallery of Art 5152:Académie Julian alumni 5097:American male painters 5092:Painters from Florence 4391:Mount, Charles Merrill 3848:TheOvertimeTheatre.org 3705:Columbus Museum of Art 3307:Little (1998), p. 141. 3210:Little (1998), p. 135. 3090:Little (1998), p. 110. 3041:on September 28, 2007. 2595:British History Online 2085:Des Moines Metro Opera 2083:On July 13, 2024, the 1936: 1829: 1752: 1634:James Carroll Beckwith 1509: 1460: 1435: 1409: 1394:, Florida, and in the 1375: 1292: 1177:Robert Louis Stevenson 1144: 1018: 963: 912: 876: 840: 828:Madame Pierre Gautreau 819: 649: 604: 570: 544: 475: 466: 449:James Carroll Beckwith 425: 117:51.297651°N 0.624693°W 69:Grand Duchy of Tuscany 4847:Lady Agnew of Lochnaw 4618:from Smarthistory at 4537:Boston Public Library 4531:June 2, 2005, at the 4455:Thomas, John (2017). 4374:Yale University Press 4331:Fisher, Paul (2022). 4273:Yale University Press 4223:Yale University Press 4204:Yale University Press 4176:: Letters to his Son 4159:Prettejohn, Elizabeth 4142:Yale University Press 4058:Little, Carl (1998). 4034:Yale University Press 3739:on September 17, 2016 3729:"John Singer Sargent" 3628:"John Singer Sargent" 3512:University, Harvard. 3249:Olson (1986), p. 199. 3132:June 2, 2005, at the 3099:Little (1998), p. 17. 3051:Little (1998), p. 11. 2954:Olson (1986), p. 227. 2927:Little (1998), p. 12. 2777:. JSS Virtual Gallery 2723:Keene Wilson Fine Art 2687:Olson (1986), p. 223. 2633:Olson (1986), p. 107. 2541:Olson (1986), p. 102. 2118:on September 25, 2018 2108:"John Singer Sargent" 1984:Bentonville, Arkansas 1949:Walter Leighton Clark 1930: 1873:, was on the ascent. 1821: 1744: 1699:Bartolomeo Magagnosco 1646:Boston Public Library 1626:Robert de Montesquiou 1580:Jacques-Émile Blanche 1558:and his likely lover 1507:Boston Public Library 1501: 1473:Boston Public Library 1452: 1404: 1366: 1341:Currier Museum of Art 1287: 1238:An Interior in Venice 1197:Henry Gurdon Marquand 1149:Lady Agnew of Lochnaw 1136:Lady Agnew of Lochnaw 1133: 1023:Royal Academy of Arts 1009: 954: 901: 811: 642:Venetian onion seller 640: 592: 561: 533:An Out-of-Doors Study 531: 461: 415: 327:painting and working 201:Lady Agnew of Lochnaw 5167:American war artists 4878:Wertheimer portraits 4855:Mrs. Hugh Hammersley 4783:Portrait of Madame X 4684:, February 29, 2024. 4163:Interpreting Sargent 4089:Portrait de Madame X 3788:. February 14, 1928. 3778:. February 12, 1928. 3682:, December 19, 1922. 3393:Olson (1986), p. 88. 3326:, February 15, 2015. 2451:Olson (1986), p. 80. 2433:Olson (1986), p. 73. 2424:Olson (1986), p. 70. 2388:Olson (1986), p. 55. 2374:Interpreting Sargent 2370:Elizabeth Prettejohn 2360:Olson (1986), p. 46. 2348:Little (1998), p. 7. 2324:Olson (1986), p. 29. 2315:Olson (1986), p. 27. 2306:Olson (1986), p. 23. 2297:Little (1998), p. 7. 2288:Olson (1986), p. 18. 2279:Olson (1986), p. 15. 2270:Olson (1986), p. 10. 2186:Fisher (2022), p. 9. 2051:Portrait of Madame X 2042:Jade Esteban Estrada 1812:Elizabeth Prettejohn 1650:Francis David Millet 1630:Dennis Miller Bunker 1564:Albert de Belleroche 1560:Albert de Belleroche 1456:, 1922–1925, mural, 1360:at Wikimedia Commons 1266:in Florence, Italy. 1221:Wertheimer portraits 1205:Cornelius Vanderbilt 1154:Mrs. Hugh Hammersley 1056:Dennis Miller Bunker 1052:New York businessman 824:Portrait of Madame X 815:Portrait of Madame X 804:Portrait of Madame X 798:Portrait of Madame X 789:Portrait of Madame X 443:École des Beaux-Arts 308:Portrait of Madame X 173:Portrait of Madame X 122:51.297651; -0.624693 5192:Artists from London 4719:John Singer Sargent 4592:John Singer Sargent 4581:John Singer Sargent 4574:The Daily Telegraph 4542:John Singer Sargent 4502:"Mrs. Edward Goetz" 4496:John Singer Sargent 4420:John Singer Sargent 4405:John Singer Sargent 4395:John Singer Sargent 4306:Cox, Devon (2015). 4138:The Early Portraits 4126:John Singer Sargent 4124:. "Sargent's Art". 4030:Harvard Art Museums 3994:John Singer Sargent 3829:, December 3, 2004. 3733:Necropolis Notables 3614:"Sargent and Spain" 3600:"Sargent and Spain" 3384:, pp. 143–145. 3344:Diliberto, Gioia. " 3323:The Daily Telegraph 3237:The Daily Telegraph 2494:John Singer Sargent 2261:Olson (1986), p. 9. 2243:Olson (1986), p. 4. 2234:Olson (1986), p. 2. 2195:Olson (1986), p. 1. 2059:Maggie Stiefvater's 1931:Sargent's grave in 1815:from the 1890s on. 1737:Critical assessment 1666:Jane Emmet de Glehn 1515:Sermon on the Mount 1493:Harvard Art Museums 1485:Triumph of Religion 1477:Museum of Fine Arts 1297:John D. Rockefeller 1289:Nonchaloir (Repose) 1279:Nonchaloir (Repose) 1209:I. N. Phelps Stokes 1166:Palace of Fine Arts 430:Academy of Florence 376:medical illustrator 223:John Singer Sargent 113: / 51:John Singer Sargent 5162:Royal Academicians 4791:The Misses Vickers 4682:The New York Times 4525:The Sargent Murals 4514:Sargent at Harvard 4267:. Washington, DC: 4196:Gerdts, William H. 4105:St. Martin's Press 4018:, August 13, 2010. 3785:The New York Times 3775:The New York Times 3679:The New York Times 3518:Harvard University 3351:The New York Times 3174:on October 6, 2012 3114:www.jssgallery.org 3035:"EmbARK Web Kiosk" 2822:Amon Carter Museum 2032:In popular culture 1989:In December 2004, 1957:Brookwood Cemetery 1937: 1933:Brookwood Cemetery 1869:circle and by the 1830: 1753: 1683:, 1878, depicting 1638:Edwin Austin Abbey 1599:Lady with the Rose 1510: 1461: 1410: 1376: 1293: 1185:Theodore Roosevelt 1145: 1019: 964: 913: 820: 719:Lady with the Rose 650: 605: 571: 545: 535:, 1889, depicting 496:, where Americans 467: 426: 355:Wills Eye Hospital 305:in the 1880s, his 96:Brookwood Cemetery 5069: 5068: 4972:Tyrolese Interior 4743:Dr. Pozzi at Home 4635:Project Gutenberg 4586:Harper's Magazine 4466:978-0-9934781-1-6 4447:978-0-300-19378-7 4356:978 1 85514 550 4 4298:978-1-4422-3050-7 4265:Sargent and Spain 4252:978-1-4696-3520-0 4212:978-0-300-11717-2 3919:978-0-7892-0384-7 3806:on August 7, 2016 3634:on March 20, 2012 3500:The Misses Hunter 3484:on July 10, 2012. 3447:978-0-7892-0384-7 3418:978-0-7892-0384-7 3200:. August 4, 2010. 2976:McCouat, Philip. 2896:978-0-15-101447-7 2826:Fort Worth, Texas 2063:Mister Impossible 1731:, c. 1905–15 1618:Paul César Helleu 1591:Virginie Gautreau 1540:St Gervais church 1356:Media related to 1106:and Mars brown". 1067:portrait painters 993:Paul César Helleu 922:Dr. Pozzi at Home 904:Dr. Pozzi at Home 569:in Washington, DC 537:Paul César Helleu 507:Paul César Helleu 502:Julian Alden Weir 220: 219: 5209: 4934: 4931: 4917:Padre Sebastiano 4901:Lord Ribblesdale 4775:Street in Venice 4712: 4705: 4698: 4689: 4644:Internet Archive 4470: 4451: 4428:978-07892-1440-9 4401:Ratcliff, Carter 4387: 4321: 4302: 4256: 4200:Sargent's Venice 4174:Camille Pissarro 4155: 4118: 4077: 4047: 4011: 3988: 3969: 3960: 3941: 3923: 3911: 3891: 3883: 3877: 3869: 3863: 3858: 3852: 3851: 3836: 3830: 3822: 3816: 3815: 3813: 3811: 3802:. 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Archived from 2104: 2072:, filmed at the 2020: 2002: 1891:National Gallery 1855:Bloomsbury Group 1800:Camille Pissarro 1725: 1710: 1695: 1677: 1662:Wilfrid de Glehn 1479:, and Harvard's 1355: 1252:Lord Ribblesdale 945:Mrs. Henry White 927:Mrs. Henry White 862:rearing as on a 784: 767: 758: 755: 746: 731: 597:(Spanish Dancer) 494:Jean-Léon Gérôme 480: 469:Carolus-Duran's 446: 445: 260:portrait painter 253: 252: 249: 248: 245: 242: 239: 236: 233: 165: 150: 149: 128: 127: 125: 124: 123: 118: 114: 111: 110: 109: 106: 82: 61:January 12, 1856 60: 58: 35: 21: 5217: 5216: 5212: 5211: 5210: 5208: 5207: 5206: 5072: 5071: 5070: 5065: 5037: 5031:Mountain Stream 5010: 4980:Tommies Bathing 4932: 4730: 4721: 4716: 4616:Wayback Machine 4577:, July 12, 2010 4569:Richard Dorment 4560:Wayback Machine 4533:Wayback Machine 4477: 4467: 4454: 4448: 4433: 4384: 4361: 4318: 4305: 4299: 4286: 4261:Ormond, Richard 4253: 4236: 4192:Adelson, Warren 4188: 4186:Further reading 4152: 4136:. Vol. 1: 4131: 4122:Ormond, Richard 4115: 4098: 4074: 4057: 4044: 4021: 4008: 3998:Harry N. Abrams 3991: 3985: 3972: 3963: 3957: 3947:Sargent's Women 3944: 3928:Charteris, Evan 3926: 3920: 3903: 3900: 3895: 3894: 3886:American Apollo 3884: 3880: 3870: 3866: 3859: 3855: 3838: 3837: 3833: 3823: 3819: 3809: 3807: 3798: 3797: 3793: 3781: 3780: 3771: 3770: 3766: 3757: 3756: 3752: 3742: 3740: 3727: 3726: 3722: 3715: 3694: 3693: 3686: 3675: 3671: 3666: 3662: 3652: 3651: 3647: 3637: 3635: 3626: 3625: 3621: 3612: 3611: 3607: 3598: 3597: 3593: 3588: 3584: 3579: 3575: 3570: 3566: 3561: 3557: 3552: 3545: 3536: 3532: 3522: 3520: 3511: 3510: 3506: 3493: 3489: 3476: 3475: 3471: 3459: 3455: 3448: 3431: 3430: 3426: 3419: 3402: 3401: 3397: 3392: 3388: 3380: 3376: 3371: 3367: 3362: 3358: 3354:, May 18, 2003. 3343: 3339: 3334: 3330: 3315: 3311: 3306: 3302: 3291: 3289: 3285: 3277: 3273: 3262: 3253: 3248: 3244: 3230: 3229: 3225: 3218: 3214: 3209: 3205: 3192: 3191: 3187: 3177: 3175: 3166: 3165: 3161: 3152: 3148: 3143: 3139: 3134:Wayback Machine 3125: 3121: 3108: 3107: 3103: 3098: 3094: 3089: 3085: 3080: 3073: 3068: 3064: 3059: 3055: 3050: 3046: 3033: 3032: 3028: 3019: 3018: 3014: 3009: 3005: 3000: 2996: 2986: 2984: 2975: 2974: 2967: 2962: 2958: 2953: 2949: 2944: 2940: 2935: 2931: 2926: 2922: 2917: 2913: 2908: 2904: 2897: 2884: 2883: 2879: 2869: 2867: 2862: 2861: 2857: 2847: 2845: 2836: 2835: 2831: 2820:Exhibit at the 2819: 2815: 2805: 2803: 2795: 2794: 2790: 2780: 2778: 2773: 2772: 2768: 2760: 2756: 2751: 2747: 2742: 2738: 2728: 2726: 2717: 2716: 2712: 2704: 2700: 2695: 2691: 2686: 2682: 2677: 2673: 2668: 2664: 2659: 2655: 2650: 2646: 2641: 2637: 2632: 2628: 2623: 2619: 2614: 2610: 2600: 2598: 2589: 2588: 2581: 2576: 2572: 2567: 2563: 2558: 2554: 2549: 2545: 2540: 2536: 2531: 2527: 2522: 2518: 2513: 2509: 2504: 2500: 2491: 2487: 2477: 2475: 2471: 2464: 2460: 2459: 2455: 2450: 2446: 2441: 2437: 2432: 2428: 2423: 2419: 2414: 2410: 2405: 2401: 2396: 2392: 2387: 2380: 2368: 2364: 2359: 2352: 2347: 2340: 2335: 2328: 2323: 2319: 2314: 2310: 2305: 2301: 2296: 2292: 2287: 2283: 2278: 2274: 2269: 2265: 2260: 2256: 2251: 2247: 2242: 2238: 2233: 2229: 2212:, eds. (1900). 2204: 2203: 2199: 2194: 2190: 2185: 2181: 2169: 2168: 2161: 2155:Wayback Machine 2144: 2140: 2135: 2131: 2121: 2119: 2106: 2105: 2098: 2093: 2034: 2027: 2021: 2012: 2003: 1973: 1925: 1899:Legion of Honor 1739: 1732: 1726: 1717: 1711: 1702: 1696: 1687: 1678: 1654:Joaquín Sorolla 1578:". The painter 1548: 1505:, 1919, mural, 1481:Widener Library 1447: 1429:wrote in 1927: 1423:Brooklyn Museum 1372:Brooklyn Museum 1349: 1330:Widener Library 1275:The Black Brook 1243:Palazzo Barbaro 1229: 1161:of our times". 896: 894:Move to England 806: 800: 793: 785: 776: 768: 759: 756: 747: 738: 732: 686: 681: 676: 670: 654:genre paintings 587: 579:impressionistic 541:Brooklyn Museum 483:Diego Velázquez 410: 343: 230: 226: 206: 163: 121: 119: 115: 112: 107: 104: 102: 100: 99: 98: 87: 86:London, England 84: 80: 71: 62: 56: 54: 53: 52: 42: 26: 17: 12: 11: 5: 5215: 5213: 5205: 5204: 5199: 5194: 5189: 5184: 5179: 5174: 5169: 5164: 5159: 5154: 5149: 5144: 5139: 5134: 5129: 5124: 5119: 5114: 5109: 5104: 5099: 5094: 5089: 5084: 5074: 5073: 5067: 5066: 5064: 5063: 5061:Rosina Ferrara 5058: 5057: 5056: 5045: 5043: 5039: 5038: 5036: 5035: 5027: 5018: 5016: 5012: 5011: 5009: 5008: 5000: 4992: 4984: 4976: 4968: 4960: 4952: 4944: 4936: 4921: 4913: 4905: 4897: 4889: 4881: 4875: 4867: 4859: 4851: 4843: 4835: 4827: 4819: 4811: 4803: 4795: 4787: 4779: 4771: 4763: 4755: 4747: 4738: 4736: 4732: 4731: 4726: 4723: 4722: 4717: 4715: 4714: 4707: 4700: 4692: 4686: 4685: 4671: 4666: 4661: 4656: 4651: 4646: 4637: 4628: 4623: 4603: 4598: 4589: 4578: 4562: 4550: 4545: 4539: 4521: 4510: 4505: 4499: 4493: 4488: 4476: 4475:External links 4473: 4472: 4471: 4465: 4452: 4446: 4431: 4416: 4398: 4388: 4382: 4359: 4344: 4329: 4322: 4316: 4303: 4297: 4284: 4257: 4251: 4234: 4215: 4187: 4184: 4183: 4182: 4166: 4156: 4150: 4129: 4119: 4113: 4096: 4085: 4078: 4072: 4055: 4048: 4042: 4019: 4012: 4006: 4000:. p. 11. 3989: 3983: 3970: 3961: 3955: 3942: 3924: 3918: 3899: 3896: 3893: 3892: 3878: 3864: 3853: 3831: 3817: 3791: 3764: 3750: 3720: 3713: 3707:. p. 34. 3684: 3669: 3660: 3645: 3619: 3605: 3591: 3582: 3573: 3564: 3555: 3543: 3537:Rewald, John: 3530: 3504: 3498:, upon seeing 3487: 3469: 3453: 3446: 3424: 3417: 3395: 3386: 3374: 3365: 3356: 3337: 3328: 3316:Tóibín, Colm, 3309: 3300: 3283: 3281:, p. 254. 3271: 3251: 3242: 3223: 3212: 3203: 3185: 3159: 3146: 3137: 3119: 3101: 3092: 3083: 3071: 3062: 3053: 3044: 3026: 3012: 3003: 2994: 2965: 2956: 2947: 2938: 2929: 2920: 2911: 2902: 2895: 2877: 2855: 2829: 2813: 2788: 2766: 2754: 2745: 2736: 2710: 2698: 2689: 2680: 2671: 2662: 2653: 2644: 2635: 2626: 2617: 2608: 2579: 2570: 2561: 2552: 2543: 2534: 2525: 2516: 2507: 2498: 2485: 2453: 2444: 2435: 2426: 2417: 2408: 2399: 2390: 2378: 2362: 2350: 2338: 2326: 2317: 2308: 2299: 2290: 2281: 2272: 2263: 2254: 2245: 2236: 2227: 2197: 2188: 2179: 2173:Art in America 2159: 2138: 2129: 2095: 2094: 2092: 2089: 2038:Comedy Central 2033: 2030: 2029: 2028: 2022: 2015: 2013: 2004: 1997: 1972: 1969: 1961:Woking, Surrey 1945:Edmund Greacen 1943:together with 1924: 1921: 1804:Walter Sickert 1786:Arsène Vigeant 1750:Musées de Metz 1746:Arsène Vigeant 1738: 1735: 1734: 1733: 1727: 1720: 1718: 1716:, c. 1891 1712: 1705: 1703: 1701:, c. 1875 1697: 1690: 1688: 1685:Rosina Ferrara 1679: 1672: 1595:Judith Gautier 1587:Rosina Ferrara 1547: 1544: 1446: 1443: 1427:Evan Charteris 1419:The Chess Game 1406:The Chess Game 1348: 1345: 1264:Uffizi Gallery 1228: 1225: 1213:Love, Fiercely 1189:Woodrow Wilson 1179:. The second, 1076:cadmium yellow 911:, Los Angeles. 895: 892: 880:Rosina Ferrara 852:Judith Gautier 818:, c. 1885 802:Main article: 799: 796: 795: 794: 786: 779: 777: 769: 762: 760: 757: 1880–81 748: 741: 739: 733: 726: 685: 682: 680: 677: 669: 666: 586: 583: 409: 406: 342: 339: 218: 217: 212: 208: 207: 205: 204: 197: 190: 183: 176: 168: 166: 160: 159: 156: 155:Known for 152: 151: 142: 138: 137: 134: 130: 129: 93: 89: 88: 85: 83:(aged 69) 79:April 14, 1925 77: 73: 72: 63: 50: 48: 44: 43: 39:James E. Purdy 36: 28: 27: 24: 15: 13: 10: 9: 6: 4: 3: 2: 5214: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5173: 5170: 5168: 5165: 5163: 5160: 5158: 5155: 5153: 5150: 5148: 5145: 5143: 5140: 5138: 5135: 5133: 5130: 5128: 5125: 5123: 5120: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5079: 5077: 5062: 5059: 5055: 5052: 5051: 5050: 5047: 5046: 5044: 5040: 5033: 5032: 5028: 5025: 5024: 5020: 5019: 5017: 5013: 5006: 5005: 5001: 4998: 4997: 4993: 4990: 4989: 4985: 4982: 4981: 4977: 4974: 4973: 4969: 4966: 4965: 4961: 4958: 4957: 4953: 4950: 4949: 4945: 4942: 4941: 4937: 4927: 4926: 4922: 4919: 4918: 4914: 4911: 4910: 4906: 4903: 4902: 4898: 4895: 4894: 4890: 4887: 4886: 4882: 4879: 4876: 4873: 4872: 4868: 4865: 4864: 4860: 4857: 4856: 4852: 4849: 4848: 4844: 4841: 4840: 4836: 4833: 4832: 4828: 4825: 4824: 4820: 4817: 4816: 4812: 4809: 4808: 4804: 4801: 4800: 4796: 4793: 4792: 4788: 4785: 4784: 4780: 4777: 4776: 4772: 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