Top 10 Most Famous Paintings by John Singer Sargent
Who was John Singer Sargent?
John Singer Sargent was an American expatriate artist, considered the "leading portrait painter of his generation".
John Singer Sargent Famous Artworks
Here is a list of John Singer Sargent's most famous paintings:
- Portrait of Madame X by John Singer Sargent
- Carnation, Lily, Lily, Rose by John Singer Sargent
- El Jaleo by John Singer Sargent
- The Daughters of Edward Darley Boit by John Singer Sargent
- Lady Agnew of Lochnaw by John Singer Sargent
- Ellen Terry as Lady Macbeth by John Singer Sargent
- A Dinner Table at Night by John Singer Sargent
- The Fountain, Villa Torlonia, Frascati, Italy by John Singer Sargent
- Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel by John Singer Sargent
- Mrs. Carl Meyer and her Children by John Singer Sargent
Virginie Amélie Avegno Gautreau, a Parisian high society woman born in Louisiana, was famous for her shrewd and elegant appearance. Sargent attempted to increase his fame by painting and displaying her portrait. Working without a commission but with the complicity of the model, she emphasized her daring personal style, painting the right shoulder strap of the dress that slips from her shoulder. After the portrait received more mockery than appreciation at the Paris Salon of 1884, Sargent repainted the epaulet and kept the picture. When he sold it to the Metropolitan, he said, "I think it's the best thing I've ever done," but asked the Museum to hide the model's name.
John Singer Sargent Paintings - American Impressionist painter - Slideshow Collection [HD]
The painting depicts two children lighting Chinese lanterns in a garden.
The inspiration for the unique lighting effect came during an 1885 boating trip Sargent took with fellow painter Edwin Austin Abbey. On one evening, near the Thames at Pangbourne, he saw Chinese lanterns hanging from trees spreading light over beds of flowers. After Pangbourne, Sargent stayed with artist Francis David Millet at Farm House in Broadway, Worcestershire; and there he began working on the painting. Sargent’s progress was slow; he worked on the painting from September 1885 and completed it sometime in October 1886. It was because Sargent was determined to recreate the light effect from Pangbourne, and painted only a few minutes every evening to capture the same level of light at dusk.
El Jaleo by John Singer Sargent
The painting was motivated by a five-month trip Sargent made through Spain and North Africa in 1879, which likewise yielded a little oil painting, The Spanish Dance (Hispanic Society of America). Sequentially and thematically, the painting is related to a progression of works Sargent painted during a resulting remain in Venice; these, as well, incorporate sensational light impacts, exotic models, and limited coloring. Dazzled by the outfits and theatrical way of Gypsy move, the artist came back to Paris and started work on an enormous canvas whose scale recommended a performing stage. The name El Jaleo alludes to both the wide importance of jaleo, an excitement, just as the particular move known as jaleo de jerez. Sargent arranged the piece of El Jaleo for in any event a year. The painting was gone before by a progression of preliminary investigations, concentrating particularly on the artist's adopted stance. The consequence of intensive planning, El Jaleo is portrayed by a guaranteed and quick taking care of and may have been finished in close to a couple of days.
The Daughters of Edward Darley Boit by John Singer Sargent
It was painted by Sargent in Paris and it was an important landmark in his early career. When Sargent arrived in Boston for his first professional visit in 1887, the Boit family hosted him at their home and immediately commissioned this portrait of Mary Louisa and encouraged their affluent friends to sit for the artist.
The painting startled conservative Boston, not only because of Louisa's boisterous polka-dotted dress but also for the expression on her face.
Lady Agnew is situated in an eighteenth-century French Bergère and, as per art history specialist Richard Ormond, the rear of the seat is utilized as a "bending, supporting space to contain the figure, making an unmistakable, lazy elegance". Sargent imagined her in a three-quarter length present, wearing a white outfit with a silk mauve band as an embellishment around her midsection. The divider behind her is hung with Chinese silk of a blue color. She looks straightforwardly and appraisingly, her expression catching the impression she is participating in a "close discussion" with those watching the painting. Ormond and Kilmurray comment that she was convalescing from flu at that point, which may represent the drowsiness in her posture. They depict her look as "discreetly testing" and "something withheld and welcoming in her curious half-grin".
Ellen Terry as Lady Macbeth by John Singer Sargent
Acclaimed Shakespearean on-screen character Ellen Terry (1847–1928) assumed the job of Lady Macbeth in Henry Irving's generation at the London Lyceum starting in December 1888. Sargent respected her exhibition and outfit and persuaded her to model for him. He shows Terry setting a crown on her head after the homicide of Duncan, the Scottish lord. The episode doesn't happen in Shakespeare's text, nor was it a part of the presentation. Sargent, be that as it may, looked for a sensational theme to make his portrait persuading, both as the embodiment of a job and as the portrayal of an individual on-screen character. Terry's extreme and ground-breaking look improves this climactic minute. Alice Comyns Carr, a dear companion of the artist, structured Terry's stupendous outfit, utilizing green silk and blue tinsel embellished with a huge number of scarab wings to make the on-screen character resemble a snake. Sargent caught the luminous impact with impressionistic touches of color.
A Dinner Table at Night by John Singer Sargent
In 1884, Sargent visited Sussex to paint a full-length portrait of Edith Vickers (d. 1909). Among the numerous casual pictures, he additionally created during his visit in the wide-open is this sketch of Edith and her better half, Albert (1839–1919), in their lounge area. It is intended to show up without artifice, as though unintentional rather than built. Like the first title, The Glass of Port (Le Verre de Porto), infers, the work shows the minute after the supper table has been cleared and decanters of the port have been gotten. The flowers, glass, and silver on the table are exquisitely rendered to uncover the reflection and assimilation of the grumpy light in the room. Albert is just partially spoken to on the extreme edges of the canvas. Sargent's utilization of ruddy tones and the unorthodox attitude of the figures propose the painting may have been propelled by the works of Édouard Manet and Edgar Degas.
The Fountain, Villa Torlonia, Frascati, Italy by John Singer Sargent
This painting combines landscape and portraiture in a composition that speaks to friendship and painterly pursuits while also celebrating color, surface, and fleeting effects of light and movement. The couple is Wilfrid and Jane Emmet de Glehn, professional artists, and Sargent’s frequent traveling companions. Although The Fountain has the appearance of spontaneity, Sargent was frequently interrupted by rain as he worked. He thus completed it over several days, requiring his friends to pose at length.
Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel by John Singer Sargent
Gretchen Osgood Warren, individual from a conspicuous Boston family and a practiced writer, presented with her eldest daughter at Isabella Stewart Gardner's Fenway Court in Boston (presently the Isabella Stewart Gardner Museum), where Sargent had set up a transitory studio. The works of art around the figures, including the intricately cut seats and a fifteenth-century Madonna Child (still noticeable in the Gardner's Gothic Room), underscore the sitters' refinement. Sargent stressed the excellence and elegance of his sitters, situating them in the copying of the Madonna and Child behind them, however, their reserved expressions to some degree negate their delicate posture. Alongside his sitters, Sargent's free, sure, and the expert system is in plain view: note the shiny brushstrokes on Mrs. Warren's dress and the thick slice of white, tinged with green, on the arm of the seat. The portrait's impressive size, the Renaissance furniture, and Mrs. Warren's proper posture summon refined portraits of the past.
Mrs. Carl Meyer and her Children by John Singer Sargent
This is a portrait of Adèle Meyer (née Levis) with her daughter Elsie Charlotte and child Frank Cecil. Her better half, an investor, was the outside emissary of the Rothschilds and executive of De Beers. The theatrical structure of the painting, with its plunging point of view, maybe reflects Mrs. Meyer's own obsession for theater and drama. By utilizing studio props, including the wood paneling and Louis XV couch, Sargent made a picture of lavishness and proud riches mirroring the status of Adèle Meyer in the public eye.
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