The
Black Brook
(close-up)
1908
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- 8,300,000 .
. .
. . . .
Estimated combatants killed, all nations
- 7,000,000 .
. .
Estimated combatants
maimed for life, all nations
- 8,000,000 .
. .
Est. civilians
killed in Great War: Non-influenza
The
Great War in Numbers
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Title
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Jascha
Heifetz
March 1918
Isabella
Stewart Gardner
Museum, Boston
Pencil
9 1/2
x 8 3/4 in. |
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Ruined Cathedral, Arras
1918
Thumbnail only
Private
collection, U.K.
Oil on canvas
22 x 28
in. |
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Henry
Tonks
1918
Natasha
Syndics
of the Fitzwilliam Museum,
Cambridge,
England
Pencil and ink
on paper
24.8 x 37.1 cm
(9 3/4 x
14 5/8 in.) |
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A
Street in Arras
1918
Natasha
Imperial War
Museum, London
Watercolour
39 x 52 cm |
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Wheels
in Vault
1918
Metropolitan
Museum of Art,
New York
Watercolor,
graphite, and
wax on white wove paper
39.1 x 52.9 cm
(15 3/8 x
20 13/16 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.56) |
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Arras
1918
Owner?
Sketch
Size? |
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Ruined Cellar—Arras
1918
Metropolitan Museum of Art, New York
Watercolor and graphite on wove paper, mounted to cardboard
36.5 x 54 cm (14 3/8 x 21 1/4 in.)
Gift of Mrs. Francis Ormond, 1950 (50.130.78)
Inscriptions: [on verso at upper right]: 28
[underlined]; 990 // Arass [sic] [encircled]; [at center]: 18 / T[?];
[along left edge]: by J.S.Sargent 1914; [at lower left]: V.O / (trust);
[stamped at center]: C.ROBERSON & CO. ARTISTS' COLOURMEN, 99 LONG
ACRE, 154 PICCADILLY, LONDON
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Gassed
1918-19
Natasha
Essay
Imperial
War Museum, London
Oil
231
x 611.1 cm (91 x 240 1/2
in.)
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The
Road
1918
Museum of Fine
Arts, Boston
Oil on canvas
38.1 x 67.31
cm (15 x 26
1/2 in.)
The Hayden
Collection.
Charles Henry
Hayden Fund
19.759 |
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Truck
Convoy
1918
Metropolitan
Museum of Art,
New York
Watercolor and
graphite
on white wove paper
34 x 53.4 cm
(13 3/8 x 21
1/16 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.54) |
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Artillery
on the March
c 1918
Private
collection
Sketch
Size? |
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Six
Head Studies for "Gassed"
1918-19
The Corcoran
Gallery of
Art, Washington, D.C.
Charcoal and
stump on beige
laid paper
18 3/8
x 24 1/8 in. |
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Studies
of a Soldier Drinking, for Gassed
1918-1919
Cleveland
Museum of Art, Ohio
Charcoal (stumped in
places) (left
figures) and graphite (right figure); squared in graphite (right figure)
48.1 x 62.6
cm, Overall:
48.1 x 62.5 cm
Inscription:
signed?, lower
left, in graphite: JS.312.
Gift of Jane
Iglauer Fallon
in memory of Harold Fallon 1997.256.a |
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Study
for Gassed (2)
1918
Private
collection
Mixed
18.7" x 24.3
in. |
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Camouflaged
Field in France
1918
Metropolitan
Museum of Art,
New York
Watercolor,
gouache, graphite,
and wax crayon on white wove paper
33.9 x 53.1 cm
(13 5/16
x 20 15/16 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.52) |
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Soldiers
at Rest
1918
Fitzwilliam
Museum, Cambridge,
UK
Watercolour
over traces
of pencil on paper
34.3 x 53.5
cm
Lent by the
Syndics of the
Fitzwilliam Museum, Cambridge, 1151 |
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Poperinghe:
Two Soldiers
1918
Museum of Fine
Arts, Boston
Watercolor on
paper
33.7 x 52.1 cm
(13 1/4 x
20 1/2 in.)
The Hayden
Collection—Charles
Henry Hayden Fund 21.140 |
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Thou
Shalt Not Steal
1918
Natasha
The Imperial
War Museum, London
Watercolor on
paper
52.7 x 33.6 cm
(20 1/4
x 13 1/4 in.) |
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Tommies
Bathing
1918
Metropolitan
Museum of Art,
New York
Watercolor and
graphite
on white wove paper
15 5/16 x 20
13/16 in. (39
x 52.8 cm)
Gift of Mrs.
Francis Ormond,
1950 (50.130.48) |
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Tommies
Bathing (2)
1918
Metropolitan
Museum of Art,
New York
Watercolor,
gouache, and
graphite on white wove paper
33.9 x 53.1 cm
(13 5/16
x 20 15/16 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.58) |
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Camp
with Ambulance
1918
Metropolitan
Museum of Art,
New York
Watercolor and
graphite
on white wove paper
39 x 52.7 cm
(15 5/16 x
20 3/4 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.50) |
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Tents,
Bailleul
1918
Museum of Fine
Arts, Boston
Watercolor
33.7 x 52.4 cm
(13 1/4
x 20 5/8 in.)
The Hayden
Collection. Charles
Henry Hayden Fund 21.139 |
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Camouflaged Tanks, Berles-au-Bois
(Black and White Image)
1918
The Imperial War Museum, London
Watercolor on paper
34 x 52.3 cm (13 3/8 x 20 9/16) |
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Military
Camp
1918
Metropolitan
Museum of Art,
New York
Watercolor and
graphite
on white wove paper
34 x 53.1 cm
(13 3/8 x
20 7/8 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.51) |
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The
Interior of a Hospital Tent
1918
Natasha
Essay
The Imperial
War Museum, London
Watercolor on
paper
38.5 x 51.9 cm
(15 3/16
x 20 7/16 in.) |
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Title?
(Garden Gate watercolor)
1918
The Imperial War Museum, London
Watercolor on paper
Size?
(probably something like 39 x 52 cm) |
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Crashed
Aeroplane
1918
Owner?
Watercolor
Size? |
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Berles-au-Bois,
France
1918
Private
collection
Watercolor
15.2" x 20.7
in. |
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A
Wrecked Sugar Refinery
1918
Imperial
War Museum, London
Watercolor and
graphite
13 1/4
x 20 3/4 in. |
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Dugout
1918
Metropolitan
Museum of Art,
New York
Watercolor and
graphite
on white wove paper
39 x 53 cm (15
5/16 x 20
7/8 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.53) |
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Mules
1918
Metropolitan
Museum of Art,
New York
Watercolor,
graphite, and
wax crayon on off-white wove paper
33.4 x 53.1 cm
(13 3/16
x 20 15/16 in.)
Gift of Mrs.
Francis Ormond,
1950 (50.130.49 |
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Mrs. Percival Duxbury
and her Daughter
1918
Manchester Art
Gallery, UK
Oil on canvas
143.5 x 120.7 cm (56 1/2
x 47 1/2 in)
Inscription:
(Upper left:) John S. Sargent (Upper right:) 1918 signed
Presented by Duxbury,
Percival, Mrs., 1945. #1945.41
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1918
(62 years old)
Year
In Context
“On March 29, 1918,
Sargent's niece
Rose Marie, daughter of Mrs. [Violet] Ormond and widow of Robert Andre'
Michel who had fallen while fighting on October 13, 1914 was killed in
Paris. She was attending a Good Friday service in the church of St.
Gervais
when a German shell struck
the building, killing
seventy people,
among whom was Madame Michel. She was a person of singular loveliness
and
charm, and had figured in Sargent's works, notably in Chashmere, The
Pink
Dress and the Brook .. .. She had traveled with him on some of his
sketching
tours, and her youth and high spirits and the beauty of her character
had
won his devotion. Her death made a deep impression on him.”
(Charteris, P210)
By 1918 Rose-Marie
Ormond Michel
would have been approximately 28 years old. John, of course, had never
married and was childless. He must have been drawn to her like a doting
father for he was very close to all his family and I think Rose-Marie
was
his favorite model. The loss he felt must have been no less than the
loss
of a parent.
The war has hit
home now -- twice.
John's sister Violet won't leave Britain because her boys are
enlisting,
and Emily won't leave her sister Violet. In the tragic aftermath and
with
Sargent still in the States, he feels the growing isolated from his
sisters.
In America,
Bas-Reliefs are installed
in the rotunda of the Boston Museum of Fine Arts.
Afterwards he
returns to London.
May: he agrees to
be an artist for
the allies.
In June, at the age
of 62, he travels
to France as an official war artist and is stationed near the front
lines.
He is joined by Henry
Tonks in July.
In August he
travels to Arras.
In September, near
Pernne, he makes
sketches for Gassed.
Sargent also paints
many other paintings
and sketches done in the field, there are ones of bombed and burned out
churches.
That year, the
Armistice is signed
and goes into effect at eleven AM, the eleventh day of the eleventh
month.
The human tragedy to all sides between 1914 and 1918 is horrific.
Back in London his
efforts and work
are praised and he is pressed to accept the presidency of the Royal
Academy. Probably due to his intense fear of public speaking,
probably the
most important part of the job description, John threatens to flee the
country if elected against his wishes. He successfully resists.
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