John Singer Sargent (1886 - 1925) is best known for his portraits and his subtle compositions. Madame X (1884) is his most famous portrait, and has enough drama and history behind it to have been the subject of a book, Strapless by Deborah Davis. I’m not going to outline Sargent’s curious expatriate life here, so if you are interested and want a good read, get Strapless. His compositional skill is best illustrated by the painting Carnation, Lily, Lily, Rose (1886), which straddles the line between pure reality and wild abstraction. Two children are holding Japanese lanterns, but there is no horizon or ground plane, no sense of distance, and the general effect is of scattered confetti. And yet, it has a real, almost commonplace feel about it; like a childhood memory. A third weapon (reflecting the surprising Spanish Inquisition) in Sargent’s arsenal is his brilliant brushwork. He is capable of teasing reality out of a dab of paint, creating the wonderful tension between reality and paint on canvas. The detail of The Daughters of Edward Darley Boit, below, shows the range of effects that Sargent’s brush covers; from the abstracted rug and dress, to the perfectly modeled face. Alright…. That is all well and good, but what does that have to do with architectural rendering? Well, Sargent also did brilliant paintings of buildings. He was not an architect, and seems to have had no interest in the practical business of designing and constructing the built environment. But, he was an observer and recorder of the world, whether animal, vegetable or mineral. Sargent’s viewpoint can be very useful in reminding the architect that “normal” people see things differently than architects do. Theory is all very well, but the surprising world of light, the tactile feel of materials, and the delight in color is at the center of the human experience of buildings. I will, as usual, make short comments on the following images, relating the reason they caught my eye in the first place. By the way, paintings 1 to 6 are in oil, while the rest are watercolor. Above are two views of the same loggia at Vila Torre Gali, but painted at different times of the day. One having a warm and hazy feel, and the other having a cooler and more focused light. It is good to be reminded that an omnipresent glow can be as dramatic and real as direct sun in the late afternoon. Worn stone and water stains aren’t what most clients want to see, but the almost flippant way that Sargent captures this weathered building is breathtaking. The same confident strokes define this ornate interior. Note the “telegraphic” rendition of people in the lower right corner. This composition is as close to a typical architectural rendering as you will get from Sargent; he was a master at choosing the off center, sometimes eccentric point of view. The foreground paving in this interior view of a church reminds me that stone and tile are natural 3 dimensional materials which show wear, and whose joints can be variously lighter or darker than the paving itself. Raking sunlight on a plastered white wall should reveal all the warm and cool variations of the color white (That’s White, Right?). In addition, this painting utilizes the brushed texture of oils to suggest the rough surface of the plaster. Although architectural renderings tend not to represent textures in this way, the fact remains that textures can be an important part of a building, and their depiction can make or break an illustration. This painting of San Stae in Venice is a good place to start viewing Sargent’s watercolors. You can see the pencil lines at the bottom and upper right, showing how he sets the rough boundaries before playing with the paints. It also shows his (and watercolor’s normal) use of transparent layers, with blues and violets melting into tans and browns. The three painting above are of the Library and Doge’s Palace which form two sides of the Piazzetta in Venice. There are many aspects worth noting here, such as the fine underlying drawing, and the ability to range from detail to suggestion. I am most interested here in pointing out his tight palette of Burnt Sienna and blue. Sargent was as draconian in limiting the number of colors, as he was libertine in employing them. These views of Santa Maria della Salute (or “the Salute”) in Venice, range from studied details to impressionistic background. They also range from highly colored to subtle, and monochromatic to a warm/cool balance. If you are dealing with a stone building such as The Salute, these paintings are worth studying, in that they express the material, sculptural form and windows in a simple but completely believable way. These monochrome studies (just a touch of blue) show how much realism can be created from a one or two color palette. Also, look closely to see the barely noticeable line layout – which, although not exact, is more than enough to support the looser brushwork. In these three images water and a cool palette are combined. Note how often Sargent lets the blue and brown mix in a wet wash which itself suggests the theme of water. The same theme of water is found in these 3 images, but note the addition of violet in the first view (by the steps and shadows), and green in the second view (in the foreground water). These touches create a more subtly realistic effect than Sargent’s simpler palette. I don’t know why I included the above paintings… or rather I do, but it has nothing to do with architectural rendering. (The sheer joy of the brushwork and color made me do it) I can’t imagine trying to get away with a dissolving series of brown and blue dabs, or making them represent a recognizable temple structure, as he has done in the second image. This watercolor of a Venetian doorway caught my eye years ago. The dark wet in wet passage of the doorway seems a throw away until you realize what a perfect foil it is for the bright water and detailed stonework. The composition is a classic cross set off center with various secondary moves to keep it from becoming static. It is topped by the bravura spiral column and window lattice. I was, and still am, choking with envy. This painting of Bernini’s Four Rivers Fountain and the church of Sant’Agnese in Agone, both within the Piazza Navona in Rome, is included to show that even Sargent could be overwhelmed by Baroque architecture. You can see how he worked unsuccessfully to separate the fountain and the church, but the final effect is more confusion than satisfaction. Bridges, bridges, bridges… Venice has ‘em, and Sargent painted ‘em. The series above gives an interesting tour of bridges as subject, background, afterthought, framing device and lighting study. The last image reminds me that I should do a post on curious effects found under bridges, and wherever water and shadows meet. I might attract “trolls” but it’ll be worth it. These two paintings are another example of the possibilities light gives to illustrating buildings. Both are of the Scuola di San Rocco, but the first is done in a moderate morning light, while the second is taken in late afternoon, with a warmer and lower sun angle. Which version do you prefer? Which light would be best for your next job? Four fountains. You might notice that in spite of his skill with watercolor, Sargent was not above using opaque white (or anything that gave him the effect he wanted) on several of these fountains. The first image is another painterly hat trick which seems throw away, but is perfect. The second image nails the effect of wet bronze. The third fountain is a beautiful reminder that the underside of something in direct sunlight is brightly lit by reflections from the ground. The last two images are a final set of “same place, different light” comparisons; one working the warm afternoon light, and the other suggesting a cooler mid day sun. Note in the forth image, how Sargent shifts the light on dark of the near statue, to dark on light. This (almost) final sculpture is a nice reminder of Sargent’s talents in tackling reflected light. It shows two sculptural figures beside a path. The surfaces facing the ground glowing orange and brown, while the surfaces facing the sky are blue. Sargent exaggerates perhaps, but the result is magic, and more importantly, correct. This (actual) final sculpture is of an escutcheon of Charles V, from a building in Spain. OK, so Sargent can speed dial with a brush, and nail an effect with the flick of the wrist. But, as shown here, he is also a patient observer of buildings. Sit down and draw a straight elevation of such ornamentation. I have, and it is not easy or quick. So… hats off to John Singer. If you are a “hard copy” person like me, there are a number of good books out there on Sargent. My favorite is, Sargent Abroad, Figures andLandscapes by Abbeville Press. It is large format, and the reproductions are excellent. If you like digital, the best site is the John Singer Sargent Virtual Gallery. Inspiration - Jean-Leon Gerome Inspiration- The Dreams of Lebbius Woods Inspiration- Sargent & Structures Inspiration- Louis Sullivan & Ornamentation Inspiration- Bertram Grosvenor Goodhue Inspiration- Winslow Homer Inspiration- Dore & value studies Inspiration- Hugh Ferriss Inspiration- Waterhouse & Color Inspiration- Bierstadt & Atmosphere Inspiration- John C. Wenrich Inspiration - Cyril Farey
Mrs. George Swinton (Elizabeth Ebsworth) (1897) by John Singer Sargent is produced with printing that covers the entirety of the canvas for a sleek and stylish museum-quality look. Our framed prints are made by expert craftsmen who strive to make each canvas the masterpiece that your home deserves. Each of our framed canvas art prints is hand-crafted and made-to-order to give it a high quality and professional appearance. To ensure the clearest, most accurate depiction of the artists' original vision, we print each work of art on bright white polyester canvas, ensuring the most vivid display and precise details. READY TO HANG - Our canvas prints come with preinstalled D-rings attached to the back of the product to make hanging and displaying your new masterpiece a breeze.
I take a closer look at his work to see what example made John Singer Sargent such a remarkable artist and what you can apply to your own paintings.
Available Now: John Singer Sargent - Paintings and Art - 16 Trading Cards Books Condition: NEW! Includes 16 Glossy Trading Card Size cards with blank white matte back - Shipped to protect in trading card sleeves - FREE! Featuring the Classic Art and Illustrations of artist, John Singer Sargent NO Duplicates. Complete Set. The cards are 2.5 x 3.5 in size to fit the card sleeves we send with purchase ~~~Notice about copyrights~~~ This item does not infringe any copyright, trade mark, or other rights or any of Etsy's listing policies or intellectual policies. Extensive research, modifications and restoration works to the original Public Domain material itself has ensured that we created a new work and own the intellectual property rights, license and the legality to market the products. We are the creators of this content or are authorized distributors; the seller holds all the legal rights to this specific collection as described in Title 17 of the United States Code 101. These images may be used for crafts and for personal use. This product is copyrighted 2016, All rights reserved and may not be reproduced, or copied to be resold.
John Singer Sargent : El Jaleo (1882) Canvas Gallery Wrapped Giclee Wall Art Print (D4060) Types: ➤Archival Paper Print (rolled) ➤Canvas Print, Gallery wrapped (mirrored edges) on 2cm depth pine wooden frame (stretched), rolled in a tube, or framed (wood floater frame). Options: ➤Archival Paper Print (rolled) ➤Rolled Canvas Print ➤Stretched and Ready to Hang 1 Panel Canvas Print ➤Stretched and Ready to Hang 3 Panel Canvas Print ➤Canvas in Black, Brown or White Wood Floating Frame (2'' | 5cm thick) ★★★WHAT'S THE DIFFERENCE BETWEEN A ROLLED CANVAS PRINT AND AN ARCHIVAL PAPER PRINT? ★★★ Whereas our canvas prints come with that typical characteristic texture own to canvas, our archival paper prints come on cotton rag paper without texture. A rolled canvas print is normally stretched on wood stretcher bars, whereas archival paper prints are not. Additionally, a stretched canvas can be framed, but it doesn't need to be. Thus, our rolled canvas prints come in their advertized size + mirrored edges by default for easy stretching. Prefer a cut to size rolled canvas print instead, because you want to frame it in a traditional fine art frame behind glass? Then just type ''cut to size'' in our personalization box (listing top right ''add your personalization''). Note that our rolled canvas prints do not come with stretcher bars or frames. Either take it to your local framer, or stretch/frame it yourself. Other sizes than listed in our drop-down menu available upon request! Have something in mind that you don't see in our shop? Anything at all? We've got your back! Here you can order anything you'd like: https://www.etsy.com/listing/1528183805 Our high quality images are environmentally friendly printed on museum grade canvas, with high quality inks that will last for over 200 years. Our canvas prints are odorless and stable to UV-radiation. Please note that our standard processing time is 3-5 days. Our actual canvases may slightly differ from the pictures shown, as every item that we sell is created especially for you. Our canvas prints actually look BETTER in real life. Please note: all watermarks shown will not be seen on the actual product. **All images and advertized text courtesy of VNTGARTGallery. All offerings have been fully digitally remastered (updated, restored and retouched to perfection). Text and photos may not be used without written permission.**
I take a closer look at his work to see what example made John Singer Sargent such a remarkable artist and what you can apply to your own paintings.
In this article I’d like to introduce you to a lesser known art gallery in the art world that offers some beautiful artworks including paintings of Scottish artists. The National gallery is f…
I take a closer look at his work to see what example made John Singer Sargent such a remarkable artist and what you can apply to your own paintings.
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(detail) Lady Agnew of Lochnaw, 1892. Oil on canvas (1856–1925) Scottish National Gallery
Sargent Sketches V.I | A7 Envelope Liner + SVG cut files DIY envelope liners made easy! Print & Cut yourself easily with all dielines set up as SVG files for circuit or any digital die cutters. Included Files ✦ 1 High resolution illustration by John Singer Sargent ✦ 1 Envelope liner file prepped for print on 8.5x11" Saved by pattern as PDF file + individual PNG files ✦ 2 A7 Envelope Dielines - one edge to edge, and one with an 8.5x11" frame pre-centred to align with print files More options, designs and die-lines in the Digital Dielines + Digital Envelope Liners sections of the shop!
Artist: John Singer Sargent | Year (completed): 1907 | Period: Impressionism Chess was a game that Sargent enjoyed playing a lot and took with him when he went on painting trips. In the summer of 1907, Sargent visited Purtud, a small town in the Val d'Aosta on the Swiss-Italian border, and painted his nieces and friends there. Like how he frequently chose the attire for the women in his formal commissioned portraits, he often packed up exotic shawls and clothing to have his friends and family wear when he painted them. The Chess Game was one such occasion. Sargent's personal valet Nicola d'Inverno is depicted in the painting with what seems like one of his nieces.
As we transition into fall and continue our best practices for safety and health with the raging coronavirus pandemic, I revisit the John Singer Sargent show at The Metropolitan Museum of Art June …
John Singer Sargent Watercolors from the Exhibition at the MFA, Boston, MA
John Singer Sargent (1866 - 1925) was an American artist, considered the "leading portrait painter of his generation" for his evocation of Edwardian era luxury. During his career he created approximately 900 oil paintings and more than 2000 watercolours, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine and Florida, amongst others. For full biographical notes, and for earlier works, see part 1 also. This is part-2 of a 23-part post on the works of John Singer Sargent: 1877-78 Oyster Gatherers of Cancale: 1877 Breton Girl with a Basket, Sketch for "Oyster Gatherers of Cancale" oil on canvas 48.3 x 29.2 cm Terra Foundation for American Art, Chicago, IL 1877 Breton Woman with a Basket, Sketch for "Oyster Gatherers of Cancale" oil on canvas 47 x 29.8 cm Terra Foundation for American Art, Chicago, IL 1877-78c Woman Carrying Basket, for "Oyster Gatherers of Cancale" graphite on wove paper 15 x 9 cm Harvard Art Museums / Fogg Museum, Cambridge, MA 1877 Girl on the Beach, Sketch for "Oyster Gatherers of Cancale" oil on canvas 48.3 x 29.2 cm Terra Foundation for American Art, Chicago, IL 1877 Young Boy on the Beach, Sketch for "Oyster Gatherers of Cancale" oil on canvas 43.8 x 26 cm Terra Foundation for American Art, Chicago, IL 1878 Fishing for Oysters at Cancale oil on canvas 41 x 61 cm Museum of Fine Arts, Boston, MA 1878 Oyster Gatherers of Cancale oil on canvas 79.1 x 107.9 cm Corcoran Gallery of Art, Washington, DC 1878 Rosina Ferrara Sargent met Rosina Ferrara on the island of Capri, off the coast of Naples, during the summer of 1878, when he was only twenty-two. She was his most frequent model and muse that summer. He was introduced to her by fellow artist Frank Hyde, to whom Sargent inscribed a dedication at the lower right of one of "Rosina Ferrara, Head of a Capri Girl": 1878 A Capriote oil on canvas 76.8 x 63.2 cm Museum of Fine Arts, Boston, MA 1878 Capri Girl oil on canvas 77.5 x 63.5 cm Private Collection 1878c Dan les oliviers à Capri oil on cardboard 76.2 x 63.5 cm Private Collection 1878 Capri Girl on a Rooftop oil on board 25.4 x 33.6 cm Yale Centre for British Art, New Haven, CT 1878 Rosina Ferrara Dancing the Tarantella oil on canvas 50.2 x 64.8 cm 1878 Capri Girl on a Rooftop oil on panel 24.2 x 33.7 cm Denver Art Museum, Denver, CO 1878 Head of a Capri Girl oil on canvas 43.2 x 30.5 cm Private Collection 1878 Head of Capri Girl oil on canvas 47 x 38.1 cm 1878 Rosina Ferrara oil on canvas Private Collection 1878 Rosina Ferrara, Head of a Capri Girl oil on on cardboard 32.7 x 25.1 cm Denver Art Museum, CO 1878 Rosina oil on panel 35.6 x 17.1 cm Colby College of Art, ME 1878 Staircase in Capri oil on canvas 81.9 x 46.3 cm Private Collection 1878 Stringing Onions oil on canvas 43.2 x 33 cm Private Collection 1878 Studies of a Dead Bird oil on canvas 50.8 x 38.1 cm Metropolitan Museum of Art, New York 1878-79 Landscape with Two Children graphite and watercolour on paper 35.7 x 25.2 cm Private Collection 1878-79c Nude Oriental Youth with Apple Blossom oil on cardboard 90.3 x 64.8 cm Western Reserve Historical Society, Cleveland, Ohio 1878-79c Study of Three Figures oil on canvas 47 x 29.8 cm Colby College of Art, ME 1878-80c A Road in the South oil on canvas 32.5 x 46 cm Sterling and Francine Clark Art Institute, Williamstown, MA 1878-80c Head of a Woman with Gold Earrings oil on cardboard 50.8 x 40.6 cm Private Collection 1878-80c Head of a Young Woman ( aka Native Woman ) oil on canvas 55.8 x 45.7 cm Allentown Art Museum of Lehigh Valley, Allentown, PA 1878-80c Head of an Italian Woman oil on cardboard 45.2 x 28.1 cm Private Collection 1878-80c Pumpkins oil on panel 25.4 x 31.8 cm Private Collection 1878-80c Staircase oil on canvas 55.6 x 41 cm Sterling and Francine Clark Art Institute, Williamstown, MA 1878-80c Three Figures on a Beach graphite and watercolour on paper 25.4 x 35 cm Private Collection 1878c Boat in the Waters off Capri oil on canvas 45.7 x 59.7 cm Private Collection 1878c Boy on the Beach, Capri oil on panel Private Collection 34.3 x 26 cm Private Collection 1878c Head of an Italian Boy oil on canvas 39.5 x 32.1 cm Private Collection 1878c Head of an Italian Woman oil on canvas Canajohorie Library and Art Gallery, New York 1878c Mary Turner Austin oil on canvas 45.7 x 38.1 cm Private Collection 1878c Two Boys on a Beach with Boats oil on panel 25.3 x 35 cm The Society of Swedish Literature in Finland 1879 Alhambra, Patio De La Reja oil on canvas 47.9 x 54.6 cm Private Collection 1879 Alhambra, Patio de los Arrayanes oil on canvas 57.5 x 48.8 cm Private Collection 1879 Alhambra, Patio de los Leones ( aka Court of Lions ) watercolour on paper 24.9 x 34.2 cm British Museum, London 1879 Alhambra, Patio de los Leones watercolour on paper 45.7 x 30.5 cm Private Collection 1879 Angels in a Transept oil on panel 34.6 x 26 cm Private Collection 1879 Boats in Harbour oil on panel 25.3 x 33 cm Private Collection 1879 Buffoon Don Juan de Austria ( after Velazquez ) oil on canvas 52.1 x 41.9 cm Private Collection *see below Diego Velazquez 1634c "The Buffoon Juan de Austria" 210 x 123 cm Museo Nacional del Prado, Madrid 1879 Buffoon Juan Calabazas ( after Velazquez ) oil on canvas 106.7 x 82.5 cm Private Collection *see below Diego Velazquez "The Buffoon Calabazas ( The Dwarf Don Juan Calabazas, called Calabacillas ) oil on canvas 106 x 83 cm 1637-39 Museo Nacional del Prado, Madrid 1879 Carmela Bertagna oil on canvas 59.7 x 49.5 cm Columbus Museum of Art, Ohio 1879 Carolus-Duran oil on canvas 116.8 x 95.9 cm Sterling and Francine Clark Art Institute, Williamstown, MA 1879 Corner of a Garden oil on canvas 35.6 x 25.4 cm Private Collection 1879 Dwarf with a Dog ( after Velazquez ) oil on canvas 141 x 105 cm Hispanic Society of America, New York *see below Diego Velazqeuz ( attributed to ) 1650c "Dwarf with a Dog" oil on canvas 142 x 107 cm Museo Nacional del Prado, Madrid 1879 Figure of Apollo from 'The Forge of Vulcan' ( after Velazquez ) oil on canvas 45.7 x 26.7 cm Private Collection *see below Diego Velazquez 1630 "The Forge of the Vulcan" oil on canvas 223 x 290 cm Museo Nacional del Prado, Madrid 1879 Head of a Neapolitan Boy in Profile oil on canvas 19 x 13.5 cm Private Collection 1879 Head of a Neapolitan Boy oil on canvas 18.5 x 13.7 cm Private Collection 1879 Head of Aesop ( after Velazquez ) oil on canvas 46.4 x 37.2 cm Ackland Art Museum, Chapel Hill, NC *see below Diego Velazquez 1639-40 "Aesop" oil on canvas 179.5 x 94 cm Museo Nacional del Prado, Madrid 1879 In the Luxembourg Gardens oil on canvas 65.7 x 92.4 cm Philadelphia Museum of Art, PA 1879 Jeanne Kieffer oil on canvas 43.2 x 35.6 cm Private Collection 1879 Las Hilanderas ( after Velazquez ) oil on cardboard 58.4 x 71.1 cm Private Collection *see below Diego Velazquez 1657c "Las Hilanderas" oil on canvas 167 x 252 cm Museo Nacional del Prado, Madrid 1879 Las Meninas ( after Velazquez ) oil on canvas 113.7 x 100.3 cm Private Collection *see below Diego Velazquez "Las Meninas 1656 oil on canvas 318 x 276 cm Museo Nacional del Prado, Madrid 1879 Edouard Pailleron oil on canvas 138.5 x 96 cm Musée d'Orsay, Paris © photo Musée d'Orsay/rmn 1879 Madame Edouard Pailleron ( study ) oil on panel Private Collection 1879 Madame Edouard Pailleron oil on canvas 211.2 x 104.4 cm Corcoran Gallery of Art, Washington, DC 1879 Prince Baltasar Carlos on Horseback ( after Velazquez ) oil on canvas 45.7 x 37 cm Private Collection *see below Diego Velazquez 1635-36 "Prince Baltasar Carlos on Horseback" oil on canvas 209 x 173 cm Museo Nacional del Prado, Madrid 1879 The Infanta Margarita ( after Velazquez ) oil on panel 34.9 x 24.1 cm Private Collection *see below Diego Velazquez 1653-56c "The Infanta Margerita" oil on canvas 128.5 x 100 cm Kunsthistorisches Museum, Vienna
In addition to his portraits, John Singer Sargent painted many, many watercolors. They often depicted landscapes and other scenes he had observed during his travels in Europe, America, and the Midd…
John Singer Sargent is mostly known for his finely rendered portraits done in thick oils. But he was also a remarkable watercolor painter. Learn more here.
The Daughters of Edward Darley Boit is a work by American artist John Singer Sargent (1856 - 1925). It's one figure and tableau oil on canvas painting created in 1882. The painting is owned by Museum of Fine Arts - Boston, and is accessible to the general public. John Singer Sargent was influenced by Realism and Impressionism, and made most paintings about portrait and figure and tableau.For faithful reproductions, our artists will study the oeuvre and techniques of John Singer Sargent. The original painting of The Daughters of Edward Darley Boit is about 87
Similar to his oil paintings yet with a more modern feel, John Singer Sargent's watercolors are vivid recollections of his world travels.
The National Portrait Gallery presents an assemblage of 50 John Singer Sargent drawings. Learn more in this exhibition preview.
This exhibition will recognize the sheer scale of Sargent’s achievement as a portrait draftsman.
This is the first major exhibition since 1925 to explore Sargent’s expressive drawings in charcoal, illuminating the magnitude of his abilities as a portrait draftsman. The drawings in the John…
I take a closer look at his work to see what example made John Singer Sargent such a remarkable artist and what you can apply to your own paintings.
1884c John Singer Sargent in his studio in Paris John Singer Sargent (1866 - 1925) was an American artist, considered the "leading portrait painter of his generation" for his evocation of Edwardian era luxury. During his career he created approximately 900 oil paintings and more than 2000 watercolours, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine and Florida, amongst others. For full biographical notes see part 1. For earlier works see parts 1 - 2 also. This is part-3 of a 23-part post on the works of John Singer Sargent: 1879 Mme. Francois Bulz ( Christine Blaze ) oil on canvas 54.8 x 46.7 cm The Los Angeles County Museum of Art, CA 1879 Persian Artifact with Faience Decoration graphite and watercolour on paper 32.4 x 24.1 cm Private Collection 1879 Robert de Cévrieux oil on canvas 84.4 x 47.9 cm Museum of Fine Arts, Boston, MA 1879 Sketch of a Spanish Madonna oil on panel 35 x 26 cm Metropolitan Museum of Art, New York 1879 Spanish Gypsy Dancer oil on canvas 46.4 x 28.6 cm Adelson Galleries, Boston, MA 1879 Spanish Gypsy Dancer oil on canvas 46.4 x 28.6 cm Private Collection 1879 The Little Fruit Seller oil on board 34.9 x 27.3 cm Private Collection 1879-80 Courtyard, Tetuan, Morocco oil on wood 26 x 34.9 cm Metropolitan Museum of Art, New York 1879-80 Moorish Buildings on a Cloudy Day oil on wood 26 x 34.9 cm Metropolitan Museum of Art, New York 1879-80 Open Doorway, Morocco oil on wood 35.2 x 26 cm Metropolitan Museum of Art, New York 1879-80 Spanish Dance oil on canvas 89.5 x 84.5 cm The Hispanic Society of America, New York 1879-80 Study for Spanish Dance oil on canvas 48.3 x 39.7 cm Private Collection 1879-80 Study for Spanish Dance oil on canvas 72.4 x 48.3 cm Nelson-Atkins Museum of Art, Kansas City, MO 1879-80 Turkey in a Courtyard oil on panel 35.6 x 26.7 cm Private Collection 1879-80 White Walls in Sunlight, Morocco oil on wood 26 x 34.9 cm Metropolitan Museum of Art, New York 1879-80c A Spanish Figure oil on panel 33 x 28 cm Private Collection 1879-80c An Archway ( aka Moorish Archway ) oil on canvas 47 x 37.5 cm 1879-80c Spanish or Moorish Landscape oil on panel 26 x 34.6 cm Metropolitan Museum of Art, New York 1879-80c The Balcony oil on panel 34.9 x 26.7 cm Metropolitan Museum of Art, New York 1879-80c Two Nude Figures Standing on a Wharf oil on panel 34.9 x 26.7 cm Metropolitan Museum of Art, New York 1879-82c A Spanish Woman oil on canvas 56 x 45.7 cm Private Collection 1879c A Spanish Madonna oil on panel 34 x 15 cm Isabella Stewart Gardner Museum, Boston, MA 1879c Boats graphite and watercolour on paper 25.5 x 35.6 cm Private Collection 1879c Boats graphite and watercolour on paper 26.3 x 36.1 cm Metropolitan Museum of Art, New York 1879c Boats in Harbour graphite and watercolour on paper 21.6 x 228 cm Private Collection 1879c Filet et Barque graphite and watercolour on paper 25.3 x 35 cm Private Collection 1879c Mediterranean Landscape oil on board 48.9 x 61.6 cm Private Collection 1879c Port Scene graphite and watercolour on paper 25.5 x 35.7 cm Private Collection 1879c Ships and Boats graphite and watercolour on paper 22.8 x 28 cm Private Collection 1879c The Alhambra Vase ( aka Persian Vase ) watercolour on paper 34.3 x 25.3 cm Walters Art Museum, Baltimore, MD 1879c The Descent from the Cross ( after Giovanni Tiepolo ) oil on panel 25.5 x 33 cm Private Collection 1879c The White House graphite, watercolour and gouache on paper 44.4 x 36.8 cm Private Collection 1879c Two Figures from 'The Three Graces' ( after Peter Paul Rubens ) oil on canvas 46.4 x 30.2 cm Wichita Art Museum, Wichita, Kansas *see below Peter Paul Rubens 1635c "The Three Graces" oil on canvas 221 x 181 cm Museo Nacional del Prado, Madrid 1879c Wharf Scene ( aka The Dock ) oil on canvas 32.7 x 46 cm Private Collection 1880 A Moroccan Street Scene oil on panel 35 x 26 cm Yale University Art Gallery, New Haven, CT 1880 A Parisian Beggar Girl oil on canvas 64.1 x 45.1 cm Private Collection 1880 A Venetian Woman in a Scarlet Shawl ( "Gigia Viani" ) oil on canvas 35.6 x 27.6 cm Harvard Art Museums / Fogg Museum, Cambridge, MA 1880 Café on the Riva degli Schiavoni graphite and watercolour on paper 24.1 x 31.7 cm Private Collection 1880 Donkeys in a Desert oil on wood 25.1 x 33.6 cm Private Collection 1880 Francis Brooks Chadwick oil on panel 34.9 x 25.4 cm Private Collection 1880 Fumée d'ambre gris (Smoke of Ambergris) Fumée d'amber gris was painted after Sargent's trip to North Africa in the winter of 1879-80. The painting depicts an exotically dressed woman inhaling the smoke of ambergris - a resinous substance found in tropical seawater. Ambergris was believed to ward off evil spirits and also served as an aphrodisiac. 1880 Fumée d'Ambre Gris ( Smoke of Ambergris ) oil on canvas 94 x 139.1 cm Sterling and Francine Clark Art Institute, Williamstown, MA 1880 Fumée d'ambre gris ( study ) oil on canvas 81.3 x 54 cm Private Collection 1880 Fumée d'amber gris watercolour on paper 31.1 x 19.7 cm Isabella Stewart Gardner Museum, Boston, MA 1880 Gordon Greenough graphite 27.9 x 22.9 cm Mead Art Museum, Amherst College, Amherst, MA 1880 Head of a Spanish Musician oil on canvas 49.5 x 36.8 cm Private Collection 1880 Jean Joseph Marie Carries oil on canvas 55.9 x 46.4 cm Sheldon Museum of Art, Lincoln, NE 1880 Ramón Subercaseaux Born in Valparaiso, Chile, on the coast not far from the capital, Ramón Subercaseaux was the Chilean Consul to Paris. At twenty-six years of age he was only two years older than Sargent. Ramón was active in the artistic community, cultivating a number of friends. He himself was an amateur artist. In this painting the two share a covered gondola and, according to Ramón's son, the two were in the process of painting each other which they would exchange as gifts. 1880c Ramón Subercaseaux oil on canvas 47 x 63.5 cm Dixon Gallery and Gardens, Memphis, TN 1880 Madame Ramón Subercaseaux oil on canvas 165.1 x 109.9 cm Private Collection 1880 Mary Turner Austin oil on canvas 91.4 x 73.7 cm Wadsworth Atheneum, Hartford, CT 1880 Moorish Buildings in Sunlight oil on panel 26 x 35.3 cm Metropolitan Museum of Art, New York 1880 Moroccan Fortress, with Three Women in the Foreground ( aka Bedouin Women ) oil on panel 35.2 x 26 cm Private Collection 1880 Mrs Robertson oil on canvas 159 x 103 cm Watts Gallery, Compton, Surrey UK 1880 Mrs. Charles Gifford Dyer ( Mary Anthony ) oil on canvas 62.2 x 43.8 cm Art Institute of Chicago, IL 1880 Ralph Wormeley Curtis oil on canvas 27.9 x 35.6 cm High Museum of Art, Atlanta, GA 1880 Venetian Bead Stringers An unfinished oil sketch - whatever Sargent was planning for the doorway he scraped and cut away the area, including the third figure in the foreground. 1880 Venetian Bead Stringers oil on canvas 55.9 x 78.7 cm National Gallery of Ireland, Dublin 1880 Venice in Grey Weather oil on canvas Private Collection 1880 Wooded Landscape oil on canvas 54.6 x 64.8 cm Lauren Rogers Museum of Art, Laurel, MS 1880-81 Young Woman with a Black Skirt graphite and watercolour on wove paper 35.6 x 24.9 cm Metropolitan Museum of Art, New York 1880-81c A Venetian Woman oil on panel 41.9 x 30.5 cm Private Collection 1880-81c Head of a Venetian Model watercolour on paper 29.2 x 22.9 cm Private Collection 1880-81c On the Lagoons, Venice graphite and watercolour on paper 25.4 x 34.9 cm Private Collection 1880-81c Palazzo Foscari graphite and watercolour on paper 32.1 x 23.5 cm Private Collection 1880-81c Palazzo Marcello watercolour on paper 32.4 x 23.5 cm Private Collection 1880-81c Ponte Panada, Fondamenta Nuove graphite and watercolour on paper 25.1 x 34.3 cm Corcoran Gallery of Art, Washington, DC 1880-81c Side Canal watercolour on paper 22.2 x 30.5 cm Private Collection 1880-81c Study for "Man and Woman on a Bed" graphite and black ink on white cardboard 26.5 x 22.7 Harvard Art Museums / Fogg Museum, Cambridge, MA 1880-81c The Marinarezza, Venice graphite and watercolour on paper 22.9 x 30.5 cm Private Collection 1880-81c Venetian Women in the Palazzo Rezzonico oil on canvas 45.1 x 63.5 cm Private Collection 1880--85 Woman with Furs ( aka Portrait of D. Vergeses ) oil on canvas 28.7 x 22.2 cm Sterling and Francine Clark Institute, Williamstown, MA
Often derided as staidly traditional, John Singer Sargent in fact provided a glimpse of the modern world. Ahead of a major new exhibition, Sarah Churchwell surveys the sensational portraits that caught the imagination of painters and authors alike
Artist John Singer Sargent Florence, January 12, 1856 - April 14, 1925, London, England
John Singer Sargent is mostly known for his finely rendered portraits done in thick oils. But he was also a remarkable watercolor painter. Learn more here.
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
This giant come-on of an image, from 1911, shows a more relaxed, experimental side to the great flatterer of Edwardian high society
