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1881  thru  1882
Title
Dr. Samuel Jean Pozzi at Home
1881
Natasha
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 Adam Sutcliffe


 


Femme avec Fourrures
(Woman with Furs)
(aka La Femme aux Fourrures)
(aka Portrait of D. Vergeses)
c. 1880-1885

Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Oil on canvas
28.7 x 22.2 cm (11 5/16 x 8 3/4 in.)
Inscribed: (Upper left:) a mon ami/[?] Vergeses/John S. Sarg/ent
 Aquired by Sterling Clark 1915
Assession: 1955.578

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Miss Poppy Graeme
1881
Aberdeen Art Gallery & Museums, UK
Oil on canvas
56.1 x 49.8 cm 
inscribed: To my friend Farquharson
Acc. No. ABDAG003405

 

Portrait of Mrs. John Joseph Townsend
(Catherine Rebecca Bronson)
1881
Private collection
Oil on canvas
124.46 x 83.82 cm (49 x 33 in)



Young Girl
c. 1881-1882
Baltimore Museum of Art
Oil on canvas
65.4 x 46.4 cm (25 3/4 x 18 1/4)

Inscribed ul à mom ami Dihau


Dr. Robert Farquharson of Finzean (1875-1899)
1881
Natasha
Aberdeen Art Gallery and Museums, UK
Oil on canvas
61.4 x 51.2 cm 
Acc. No. ABDAG003877

 
Vernon Lee (Violet Paget)
1881
Natasha 
Tate Gallery, London
Oil on canvas 
53.7 x 43.2 cm (20 x 16 in.)
Bequeathed by Miss Vernon Lee through Miss Cooper Willis 1935

 
Sketchbook 1880 Man on Sofa with Painter
c. 1880-1881
Sargent at Harvard, Boston
Graphite on various colored wove paper bound in a beige canvas sketchbook
27.2 x 36.8 cm
Gift of Mrs. Francis Ormond
1937.7.24

 
Violet
1881
Natasha
Private collection
Oil on canvas
69.85 x 57.15 cm (27 1/2 x 22 1/2 in.)

 
Portrait of Edouard and Marie-Louise Pailleron
1881
Des Moines Art Center, Iowa 
Oil on canvas
152.4 x 175.3 cm (60 x 69 in.)

(Essay The Pragmatic Romanticist )



Lady with the Rose (Charlotte Louise Burckhardt)
1882
Natasha
Metropolitan Museum of Art, NY
Oil on canvas
84 x 44 in.
Bequest of Mrs Valerie B, Hadden, 1932

(Caricature of Sargent's painting)


 
Mr. & Mrs. John White Field
1882
Pennsylvania Acadeny of Fine Arts
Oil on canvas
111.8 x 83.8 cm (44 x 33 in.)
Presented by Mrs. John W Field 1891

 
Madame Escudier
1882-84
Natasha
c. 1882-1884
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Oil on canvas
73.2 x 59.5 cm (28 3/4 x 23 1/2 in.)
Inscribed: (Upper left:) a Madame Escudier/John S. Sargent
Accession Number: 581

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Madame Paul Escudier
1882
Art Institute, Chicago
Oil on canvas
128.3 x 90.2 cm (50 1/2 x 35 1/2 in.)


Mademoiselle Boussenet-Duclos
1882

Private collection  
Oil on canvas  
55.6 x 46 cm (21 7/8 x 18 1/8 in.)
Inscription: (Upper left:) John S. Sargent (Upper right:) 1882 (On verso:) Mr John Sargent/8 (? rue Notre Dame des Champs) signed


Portrait of Arthur Daintrey
c 1882
Natasha
Private collection
Oil on canvas
58.4 x 47 cm (23 x 18.3 in.)
Incribed ul: To my friend Daintrey/John S. Sargent

 
Madame Errazuriz or The Lady in Black
c 1882-1883
Private
Oil on canvas
81.9 x 59.7 cm (32.2 x 23.5 in.)

 


El Jaleo -- Canvas Transfer

El Jaleo -- Print

El Jaleo
1882
Natasha Essay 
Isabella Stewart Gardner Museum, Boston 
Oil on canvas
237 x 352 cm (93 3/8 x 138 1/2 in.)
 

(View painting in museum and essay)
(A Performer's View of Sargent's El Jaleo: essay by Nancy G. Heller.)


 

Sketch After El Jaleo
c. 1879-82
Private collection
Sepia ink on paper
22.9 x 35.6 cm (9 x 14 in.)
Signed John S. Sargent, l.l.

 
Study for El Jaleo
c. 1879-82
Isabella Stewart Gardner Museum, Boston
Pencil on paper, in Venetian scrapbook
27.9 x 22.9 cm (11 x 9 in.)

 
Study for El Jaleo
c. 1879-82
Isabella Stewart Gardner Museum, Boston
Pencil on paper, in Venetian scrapbook
29.2 x 22.9 cm (11 1/2 x 9 in.)

 
Study for El Jaleo
c. 1879-82
Isabella Stewart Gardner Museum, Boston
Charcoal on paper, no. 8 in Venetian Scrapbook
23.8 x 35.2 cm (9 3/8 x 13 7/8 in)

 
Study for El Jaleo (2)
c. 1879-82
Private collection
Pencil on paper
24.1 x 18.4 cm (9 1/2 x 7 1/4 in)

 
Man's Head, study for El Jaleo
1882
Museums of San Francisco
Graphite
13 x 20.2 cm
Gift of Robert Flynn Johnson

 

Study for Seated Figures for "El Jaleo"
c. 1882

Fogg Art Museum,
Cambridge, Massachusetts
Oil on canvas
65.3 x 81.3 cm
Bequest of Grenville L. Winthrop, 1943.152
label: back of canvas, paper, printed and typed: [printed:] Scott & Fowles / 680 Fifth Avenue / (bet. 53rd & 54th Sts.) / New York / Cable Address "Scoles, New York" / [typed:] A study for El Jaleo painted by John S. Sargent / This study was presented by the Painter to his friend Renaudot, the / Paris Sculptor, and was recently disposed of in London by Renaudot's widow 1927

label: back of canvas, paper and black ink, printed and handwritten: [printed:] Scott & Fowles / 680 Fifth Ave / New York / No. [handwritten:] 787


 

Study for Seated Figures for
"El Jaleo" (2)

c. 1882
Fogg Art Museum,
Cambridge, Massachusetts
Oil on canvas
61.3 x 81.1 cm
Bequest of Grenville L. Winthrop, 1943.153


 
Madame Allouard-Jouan
c. 1882
Musée du Petit Palais, Paris
Oil on canvas
74.9 x 55.9 cm (29 1/2 x 22 in.)
Inscribed ul: á Mme Allouard Jouan / témoignage d'amitié
Inscribed ur: John S Sargent
Gift of the sitter 1918 no. 044



Isabel Valle
(Mrs. George Austen)

1882

Private collection
Oil on canvas
132.1 x 81.3 cm (52 x 32 in.)
Inscription: (Upper left:) John S. Sargent (Upper right:) Paris 1882 signed


Albert de Belleroche (half portrait)
c. 1882 
Natasha
Private collection
Oil on canvas
61 x 45.7 cm (24 x 18 in.)
Inscription top: to baby Milbank
Inscription ur: J. S. Sargent

 
Paul Helleu (watercolor) 
c. 1882-1885
Private collection
Watercolor on paper
23.5 x 37.3 cm (9 1/4 x 14 3/8  )

 
Albert de Belleroche
c. 1882
Natasha
Colorado Springs Fine Arts Center
Oil on canvas
70.5 x 49.5 cm (27 3/4 x 19 1/2 in.)
Purchased in memory of Mrs. A.E. Carlton from her friends (61.4)

 
Portrait of Mrs. Daniel Sargent Curtis
1882
Natasha
Helen Foresman Spencer Museum of Art, Univeristy of Kansas, Lawrence
Oil on canvas
71.1 x 53.3 cm (28 x 21 in.)
Samuel H. Kress Study Collection 1960.59

 
Venetian Courtyard
c. 1882
Collection of Mrs. John Hay Whitney
Oil on canvas
69.9 x 80.6 cm (27 1/2 x 31 3/4 in.)

 

Pressing the Grapes: Florentine Wine Cellar
1882
Beaverbrook Art Gallery, Fredericton NB, Canada
Oil
83.50 x 49.85 cm

 
Study for a Venetian Scene
1880/1882
Private collection 
Ink
15 x 10 in.

 
Gondolier
1880/1882
Private collection
Oil
28 x 22 in.

 

The Sulphur Match
1882
Mr. and Mrs Hugh Halff, Jr.
Oil on canvas
58.4 x 41.4 cm (23 x 16 1/4 in.)
Inscribed u l 'John S. Sargent/Venice 1882'

 
Italian Girl with Fan
1882
Natasha Essay
Cincinnati Art Museum
Oil on canvas
238.1 x 133.4 cm (93
3/4 x 52 1/2 in.)
lower right: John S. Sargent 1882; on back of original frame, now mounted on stretcher: J. S. Sargent Venice 1883 (sic)

The Edward and Virginia Irwin Memorial

 
Venetian Onion Seller
1882
Thyssen-Bornemisza, Madrid
Room 30
Oil on canvas
95 x 70 cm

 
Young Woman in Black Skirt
1880–82
Metropolitan Museum of Art, NY
Watercolor and graphite on white wove paper
35.5 x 25  cm (14 x 9 13/16 in.)
Gift of Mrs. Francis Ormond, 1950

 
Head of Venetian Woman
c. 1860-1882
Private collection 
Oil on canvas
24 ½ x 18 in

 
Unknown Dancer (untitled)
c. 1879-1882??
Natasha
Private collection
Oil on canvas

 
Street in Venice
1882 
Natasha Essay
National Gallery of Art, Washington,  D.C.
Oil on wood
45.1 x 53.9 cm (17 3/4 x 21 1/4  in.) 
Gift of the Avalon Foundation

(close-ups)


 
Venetian Street
c. 1882
Private collection
Oil on canvas
73.7 x 60.3 cm (29 1/4 x 23 3/4 in.)
Collection of Daniel and Rita Fraad

 
A Street in Venice c. 1882
c. 1882 
Ormond family
Oil on canvas
45.7 x 54.6 cm (18 x 21 1/2 in)

 
Sortie de l’église, Campo San Canciano, Venice
1882
National Gallery, Washington, D.C.
Oil on Canvas
59.9 x 85.1 cm (22 x 33 1/2 in.)
Mr. and Mrs Hugh Halff, Jr.

 
Daughters of Edward Darley Boit
1882
Natasha Essay
Museum of Fine Arts, Boston
Oil on canvas 
221.9 x 222.6 cm (87 3/8 x 87 5/8 in.)
Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florance D. Boit. In memory of their Father, Edward Darley Boit

(Caricature of Sargent's painting)

Canvas Transfer

Print

 
1881                           (25 years old)
Year In Context

The year opens with Sargent still in Venice. Sometime after the 10th he meets the English artist Luke Fildes at his studio in the Ca' Rezzonico who, in turn remarks in his diary "His colour is black, but very strong painting."(3)

March: he visits his family in Nice. 

March-April: at the American Society of American Artists, New York, he exhibits a small portrait of Edward Burckhardt (n/a) and Head of Ana-Capri Girl (1878).

April: two Venetian interiors shown at the second exhibition of the Cercle des arts liberaux on the raue Vicienne.

May, at the annual Salon in Paris, he shows the two portraits of Edouard and Marie-Louise Pailleron (1879), Mme. Subercaseaux, and two Venetian watercolors, both entitled de Vebuse. He wins a second-class medal for Mme. Subercaseaux (1880) and he's hors de concours (out of competition for medals, except the medaille d'honneur -- first place). 

He meets the American painter William Merrit Chase.
Footnote 2

June: he's in London to sees his family off to the United States. While there, he paints a sketch of Vernon Lee. The painting was done as a gift. He also paints his sister Violet possibly during this time.

By August he's back in Paris and  begins a portrait of Dr. Samuel Jean Pozzi (who had somewhat of a reputation as being a lady's man and reportedly had an affair with  Madame Gautreau Madame X, 1884).

He now paints the children of the Pailleron's who he painted parents both in 1879.

November: Based from his Spanish trips, he starts work on El Jaleo with anticipation of the following year's Salon exhibition.
 


1882                           (26 years old)
Year In Context

A romance is rumored between Sargent and Charlotte Louise Burckhardt which supposedly started the previous summer (about the time Sargent painted her father).

In May exhibits Lady with the Rose (Charlotte Louise Burckhardt) and  El Jaleo at the Salon, Paris. Both painting receive widespread attention in the press and Sargent is a rising star.  At the Royal Academy, London, he exhibits for the first time and shows  Dr. Pozzi (1881). And at the Grosvenor Gallery, London, he shows two Venetian interiors and a 'study'. Vernon Lee writes to her mother about the Royal Academy.
 

June: goes to Paris where he paints  friends and then on to Edouard Pailleron Le monde ou Pon s'emuie at the Comedie Francaise with his sister Emily and Vernon Lee. 









In August he visits Ralph Curtis and his family in Venice and paints Mrs. Daniel Sargent Curtis (Ralph's mother). Sargent's father was a cousin of Daniel Curtis.

The Curtises lived for part of the year in the Palazzo Barbaro (a Gothic palace located on the Grand Canal).

October: he travels to Florence visiting the Pagets (Vernon Lee's parents), Siena, and Rome.

The painting El Jaleo travels to New York and is shown at the Schwab Gallery then on to Boston for show.

In December, after the Curtises had left Venice and Sargent had moved to new quarters, he writes to Mrs. Curtis: "If you stay there late enough you will perhaps see how curious Venice looks with the snow clinging to the roofs and balconies, with the dull sky and canals of a dull opaque green, not unlike pea soup, con rispetto, and very different from the julienne of the Grand Canal in Summer."
Footnote 1
 

Sometime during his stay in Venice, he paints more Venetian scenes.
 
 

(Venetian Studies)
and
(Sargent in Venice)






Upon his return from Venice, he begins his painting of Daughters of Edward Darley Boit.
 

 


 
Index



 

Help Me Identify Broken Links
 
 

O
Footnote 1
Richard Ormond, and Elaine Kilmurray (1998) show Sargent returning to Paris in November and apparently not staying in Venice that  December.

Sargent's letter I quote is from Charteris' book though he himself does not give a date to the letter. The letter could have referred to his Sargent's stay the winter of 1880.




Footnote 2
M. Elizabeth Boone in her book shows that Chase traveled to Europe in 1881, going to Paris where he met Mary Cassatt and John Singer Sarrgent before going on to Spain.  Espana, American Artists and the Spanish Experience, (Hollis Taggart Galleries) Nov 98, p. 56.

(See more on William Merrit Chase)




Footnote 3
L.V. Fields, Luke Fields, RA: A Victorian Painter (London, 1968), p.67; sited in Olson, p. 95

 
 
 
 
 
 
 


 

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