John Singer Sargent

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John Singer Sargent (January 12, 1856–April 14, 1925) was an American expatriate artist known as the "best portrait painter of his generation" for his Edwardian-era luxury evocations.

He made more than 900 oil paintings and over 2,000 watercolors, as well as countless sketches and charcoal drawings.

His work has appeared in books around the world, from Venice to Corfu, the Middle East, Montana, Maine, and Florida. He was born in Florence to American parents and trained in Paris before heading to London, where he spent the majority of his life in Europe.

He adored international recognition as a portrait painter.

Portrait of Madame X, his early submission to the Paris Salon in the 1880s, was supposed to solidify his position as a society painter in Paris, but instead it resulted in scandal.

Sargent left England for England in the ensuing year following the scandal, where he continued his successful career as a portrait artist. Sargent's work has been characterized by outstanding technological capability, especially in his ability to draw with a tree, which in later years sparked admiration as well as critique of a alleged superficiality.

His commission works were consistent with portraiture's formal style, while his informal studies and landscape paintings displayed an intimate knowledge of Impressionism.

Sargent expressed reservations about formal portraiture's limitations in later life, and dedicated a significant amount of his time to mural painting and working en plein air.

Art historians generally dismissed "society" artists such as Sargent before the late twentieth century.

Early life

Sargent is a descendant of Epes Sargent, a colonial military general and jurist. FitzWillilliam (b. ), a father who was born before John Singer Sargent's birth, was his father. 1820 Gloucester, Massachusetts, was an eye surgeon at the Wills Eye Hospital in Philadelphia, Pennsylvania, 1844-1954. After John's older sister died at the age of two, his mother, Mary Newbold Singer (née Singer, 1826-1976), suffered a breakdown, and the couple decided to go abroad to recover. They stayed nomadic expatriates for the remainder of their lives. Despite being based in Paris, Sargent's parents moved frequently with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland.

Although Mary was pregnant, they stopped in Florence, Tuscany, due to a cholera outbreak. In 1856, Sargent was born there. Mary, his sister, was born a year later. FitzWilliam resigned his Philadelphia position after his wife's request to remain in another country after her birth. They lived modestly on a tiny inheritance and savings, enjoying a quiet life with their children. Except for friends in the art world, they generally avoided society and other Americans. Four more children were born in overseas, of whom only two survived after childhood.

Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor adventures than his studies. "He is a good observer of animated life," his father said at home. His mother was convinced that traveling around Europe and visiting museums and churches would provide young Sargent with a happy education. Several attempts to have him formal schooled fell apart, owing to mainly their itinerant life. His mother, who was a natural amateur, and his father, a highly trained medical illustrator, was a natural artist, and he was an excellent medical illustrator. She began encouraging drawing excursions early on and gave him sketchbooks. Sargent worked on his drawings, he drew photographs from The Illustrated London News of Ships and created detailed sketches of landscapes. FitzWilliam had hoped that his son's fascination with ships and the sea would lead him to a career in the sea.

John "sketches quite nicely and has a remarkably quick and accurate eye," his mother said at thirteen. If we could afford to teach him really good lessons, he'd be a little artist" in no time. Carl Welsch, a German landscape painter, gave him some watercolor lessons at the age of 13. Despite the fact that his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, with special interests in art, music, and literature. He was fluent in English, French, Italian, and German. Sargent's mother (after his mother) was described as "willful, curious, steadfast, and humble" at seventeen, but he was also modest and modest (after his father). "I have learned in Venice to adore Tintoretto fervently and rank him second only to Michelangelo and Titian," he wrote in 1874.

Relationships and personal life

Sargent, a lifelong bachelor with a large circle of friends, including both men and women, including Oscar Wilde (whom he worked with for many years), lesbian author Violet Paget, and his likely companion Albert de Belleroche. Biographers used to portray him as stifled and reticent. However, recent scholarship has shown that he was an intimate, complicated, and passionate man whose homosexual identity was central to his art. This conclusion is based on facts from his colleagues and acquaintances' remarks, the alluring remoteness of his portraits, the way his artworks debunk 19th-century notions of gender distinction, his previously dismissed male nudes, and several nude male portraits, including those of Thomas E. McKeller, Bartholomy Maganosco, Olimpio Fusco, and portraits of aristocratic artist Albert de Belleroche, which hung in his Chelsea's Sargent had a long association with Belleroche, whom he visited in 1882 and traveled with often. According to a surviving drawing, Sargent may have used him as a model for Madame X, a coincidence of dates for Sargent's drawing of the male form and a painful portrait suggestive of Sargent's sketches of the male form rather than his often high commissions.

According to Sargent's reputation as "the painter of the Jews" in the 1890s, it may have been due to his empathy with them and their common enjoyment of their mutual social insensitivity. Betty Wertheimer, one of Sargent's most ardent gondoliers, wrote that when in Venice, Sargent "was only interested in the Venetian gondoliers." Jacques-Émile Blanche, one of his early sitters, said after Sargent's death that his sex life was "not well known in Paris" and in Venice, positively scandalous. He was a frenzied bugger."

Several relationships with women have blossomed: Rosina Ferrara, Virginie Gautreau, and Judith Gautier, one of his sitters, may have fallen into infatuation, according to others. Sargent, as a young man, was also sued for a time Louise Burkhardt, the model for Lady with the Rose.

Henry James, Isabella Stewart Gardner (who commissioned and purchased works from Sargent and sought his assistance on other acquisitions), Edward VII, and Paul César Helleu were among Sargent's close friends and supporters. Prince Edmond de Polignac and Count Robert de Montesquiou were both among his associates. Dennis Miller Bunker, James Carroll Beckwith, Edwin Austin Abbey, and John Elliott (who also worked on the Boston Public Library murals), Francis David Millet, Joaqun Sorolla, and Claude Monet, whom Sargent painted, were among the many artists Sargent worked with. Sargent's most frequent traveling companions between 1905 and 1914 were artist couple Wilfrid de Glehn and Jane Emmet de Glehn. The three artists will often spend summers in France, Spain, or Italy, and they would all three depict one another in their paintings during their travels.

Later life

Sargent, Edmund Greacen, Walter Leighton Clark, and others co-founded Grand Central Art Galleries in 1922, together with Edmund Greacen, Edmund Greacen, Walter Leighton Clark, and others. Sargent was active in the Grand Central Art Galleries and their academy, the Grand Central School of Art, from 1925 to his death. In 1924, the Galleries held a major retrospective exhibition of Sargent's work. He then returned to England, where he died of heart disease at his Chelsea home on April 14, 1925. Sargent is buried in Brookwood Cemetery near Woking, Surrey, England.

In 1925, two memorial exhibitions of Sargent's work were held in Boston, at the Metropolitan Museum of Art in New York, and the Royal Academy and Tate Gallery in London, 1926. In 1928, the Grand Central Art Galleries held a posthumous exhibition of previously unseen sketches and drawings from throughout his career.

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Early career

Sargent created a portrait of teacher Carolus-Duran in 1879, at the age of 23, but the virtuoso initiative received government permission and revealed the direction his mature work would go. Its participation in the Paris Salon was both a salute to his teacher and an advertisement for portrait commissions. Henry James wrote about Sargent's early work that "the barely 'uncanny' spectacle of a talent on the verge of its career has little more to learn."

Sargent traveled to Spain after leaving Carolus-Duran's atelier. He studied Velázquez's paintings with a passion, admiring the master's art, as well as gathering plans for future projects in his travels. He was entranced by Spanish music and dance. In addition, the trip awakened his own musical ability (which was almost equal to his artistic abilities), as well as his early masterpiece El Jaleo (1882). As a skilled accompanist of both amateur and professional musicians, music will continue to play a significant role in his social life as well. Sargent, especially Gabriel Fauré, became a vocal advocate for contemporary composers. Several Venetian street scene series paintings were gifted with sketches and descriptions that would be useful in later portraiture.

Sargent received several portrait commissions upon his return to Paris. His career was born. He displayed the same tenacity and stamina that allowed him to paint with workman-like tenacity for the next two decades. With numerous non-commissioned portraits of friends and colleagues, he filled in the gaps between commissions and employers. His refined demeanor, impeccable French, and exceptional art made him a standout among the younger portraitists, and his fame quickly expanded. He commanded high rates and turned down unsatisfied sitters. Emil Fuchs, who was learning to paint portraits in oils, was mentored by him.

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