John Singer Sargent: Viewers Choice 
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These are your choice additions to Major Paintings

Venetian Interior
The Pragmatic Romanticist
Carnegie Museum of Art, Pittsburgh
Oil on canvas
68.3 x 87 cm (26 7/8 x 34 1/4 in.)
Museum purchase, 1920

This is an evocative example of Sargent's mastery of light  and the boldness of his brush work. . . 
-- The Pragmatic Romanticist

See Also:

Fumée d'Ambre Gris
Clark Art Institute, Williamstown, Mass. 
Oil on canvas 
139.1 x 90.8 cm (54 x 26 3/4 in.) 

(Two Studies in White)
(Road to Madame X essay)
(Caricature of Sargent's painting)

Fumée d'Ambre Gris  with its white on white.  Its exquisite
-Aj stewart

Dr. Samuel Jean Pozzi at Home
Armand Hammer Museum of Art, UCLA
Oil on canvas
202.9 x 102.2 cm (79 3/8 x 40 1/4 in.)

(Essay by Bert)
(Essay by Adam Sutcliffe

It's a portrait, but its more than a piece of a singular subject. It's an "ode to red" featuring an individual. "Red" with a face, one might say
-- Georgie


Oyster Gatherers of Cancale 
Corcoran Gallery of Art, Washington DC.
Oil on canvas
96.8 x 123.2 cm (31 1/8 x 48 1/2 in.)

This painting  has it all  I think. The sky is so full of colors and the shadows in the faces of the women. It is stunning . I also love the breakfast in the loggia.
-- ACT 100S

Mr. and Mrs. I. N. Phelps Stokes
The Metropolitan Museum of Art, NY
Oil on canvas
214 x 101 cm ( 84 1/4 x 39 3/4 in.)
Bequest of Edit Minturn Phelps Stokes, 1938

My Favorite  . . . shows the wife daringly in the forefront, with her husband in the shadows.  I think that much of Sargent's work shows things as status quo for the times, and this work is a little more daring. . . 
-- 1co olc

Miss Eden
Private Collection

Miss Eden is unusual because it is a watercolor done in the formal style of his oils [the seated portrait], perhaps the only one he ever did in this style 
--  Jack White

Muddy Alligators
Worcester Art Museum, Worcester, MA
Watercolor over graphite on medium textured cream wove paper
34.3 x 52.1 cm (13
1/2 x 20 1/2 in.)

(Picture and essay)

Sargent broke new ground in the field of watercolors. He and Homer broke away from the staid English school of pen and ink and produced explosive, loosely painted works that jarred the critics. They made watercolors fashionable and were the first to have them seriously exhibited. 
-- Will Donnelley

A favorite painting....
1) In terms of overall technique

-"Muddy Alligators   1917
2) In terms of aesthetic and emotional impact on me:
-Gourds 1905-08
-White Ships 1908
-The Grand Canal, Venice 1902
-The Garden Wall 1910

Alfred, Son of Asher Wertheimer
Tate Gallery, London
Oil on canvas
163 x 115 cm 
signed; Presented by the widow and family of Asher Wertheimer in accordance with his wishes 1922: N03709 

(Wertheimer Family Portraits)

Its significance . . . is  personal. It reminds me very much of a  boy i used to know and still miss. . . . I found this portrait to be absolutely haunting.  it was as if the eyes of Alfred  were alive and ghostly all at once
-- Raven Schultz

Street in Venice
National Gallery of Art, Washington DC
Oil on wood
45.1 x 53.9 cm (17 3/4 x 21 1/4  in.) 
Gift of the Avalon Foundation

Sargent managed to capture the mood of being in Venice superbly and the painting has a lovely sense of mystery to it
-- e il

The Misses Vickers
Sheffield Galleries and Museums Trust, England
Oil on canvas
137.8 x 182.9 cm (54 1/4 x 72 in.)

The Misses Vickers - reminds me of Cranach's painting of the three daughters of the Elector of Saxony . . .[as for Sargent's] which one has the imagination? Which is compliant? Which proper?
-- Mark Heumann

In the Luxembourg Gardens
Philadelphia Museum of Art
Oil on canvas
64.8 x 91.4 cm (25 1/2 x 36 in.)
John G. Johnson Collection

When you see it, you feel no one has captured something you've seen and known so well before.  You don't see the picture as much as remember it.
-- Melissa Kemlitz

Ellen Terry as Lady Macbeth
Tate Gallery, London
Oil on canvas
221 x 114.3 cm
Presented by Sir Joseph Duveen 1906

A tribute to Sargent's sense of drama. The figure comes across as larger than life, just as the character is so rendered by Shakespeare.
-- Rick <r jm> 

Escutcheon of Charles V of Spain
Metropolitan Museum of Art, New York
Watercolor and graphite on white wove paper
30.5 x 45.7 cm (12 x 18 in.) 
Purchase, Joseph Pulitzer Bequest, 1915 15.142.11

An exceptional work in watercolor architectural painting.   I think it's the greatest watercolor rendered by Sargent -- Dan Clarke 

Garden Study of the Vickers Children
Flint Institute of Arts, Michigan
Oil on canvas
137.6 x 91.1 cm (54 3/16 x 35 7/8 in.)
Gift of Viola E Gray Charitable Trust

I feel that it represents the growth of life, like the children are young but the flowers are grown, like they will one day
-- Cra zyD

Mrs. John J. Chapman (Elizabeth Winthrop Chanler)
The National Museum of American Art, Smithsonian Institution, Washington, D.C. 
Oil on canvas
49 3/8 x 40 1/2 in.
Gift of Chanler A. Chapman

I like this painting because of it's solid colors and solid arrangement.
-- Sean Delouche 

A Tramp
After 1900
The Brooklyn Museum, NY
Watercolor on paper
50 x 33.5 cm (19 11/16 x 13 3/16 in.)
Purchased by Special Subscription

. . . a consummate work of portrait art: the excellent handling of an unforgiving medium combined with the compassionate portrayal of this world weary man result in an evocative, masterful painting.


As a painter, 'The Pavement' inspires my awe; Sargent has brought this damp, dark scene alive for us through his subtle use of color and perceptive rendering of light.

-- Andy Curran


Light and Shadows, Corfu
Museum of Fine Arts, Boston
61 x 76 cm ( 24 x 30 in)
The Hayden Collection, 12.207

. . . The shadows painted on the building dance across the [paper] . . .

-- Elise Anne Crowell


Duke of Marlborough Family
(9th Duke)
Duke of Malborough collection, 
Blenheim Palace 
Oxfordshire, England
Oil on canvas 
332.7 x 238.8 cm (131 x 94 in.)

. . . the composition is so subversive -- I mean, he's an English Duke and he's stuck off to one side of the picture while his wife, whose money rescued the family, is the focus of the painting.  Also Consuelo was BEAUTIFUL.

-- Annie Reasoner 


The Rialto, Venice
Philadelphia Museum of Art
Oil on canvas
55.9 x 92.1 cm (22 x 36 1/4 in)
The John W. Elkins Collection, 1924

(Overview of Venice)
(photo of Rialto)

. . . It involves perspective  . . . as well as a clear sense of light and darkness almost presenting an axis in a way, how darkness divides the two sections . . .

-- Jason  

Duchess of Marlborough
c. 1904
Metropolitan Museum of Art, NY
1/4 x 7 7/8 in.

In this quick study Sargent captures his affection for  Consuelo Vanderbilt, as well as showing his pencil technique at a simple level. I can't help wondering just how quick and easy this sketch was for him.  . . .

-- Andy Shaindlin  

Pop it


To now explore Sargent more in depth, you can take one of two paths:

1) Biography is a quick overview of the man and the artist.


2) Chronology Thumbnails is the main body of the gallery. It starts the year he was born and runs until his death. It concisely outlines his life story and shows the paintings he did each year.



By:  Natasha Wallace
Copyright 1998-2005 all rights reserved


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