Lady Agnew of Lochnaw by John Singer Sargent | Fine Arts
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ATX Fine Arts
Lady Agnew of Lochnaw by John Singer Sargent
Woman Agnew's immediate look and casual posture, stressed by the streaming texture and lilac band of her dress guarantee the portrait's striking effect. Andrew Noel Agnew, an attorney who had acquired the baronetcy and domains of Lochnaw in Galloway, authorized this work of art of his young spouse, Gertrude Vernon (1864-1932), in 1892. It was displayed at the Royal Academy in 1893 and made Sargent's name. The stone carver Rodin portrayed him as 'the Van Dyck of our occasions'. Portrait commissions poured in and Sargent appreciated something of a religion following in Edwardian culture. It additionally propelled Lady Agnew in general public excellence. Woman Agnew is situated in an eighteenth-century French Bergère and, as indicated by workmanship antiquarian Richard Ormond, the rear of the seat is utilized as a "bending, supporting space to contain the figure, making a particular, drowsy style". Sargent imagined her in a three-quarter length present, wearing a white outfit with a silk mauve scarf as an adornment around her midsection. The divider behind her is hung with Chinese silk of a blue color. She looks straightforwardly and appraisingly, her appearance catching the impression she is taking an interest in a "close discussion" with those watching the work of art. Ormond and Kilmurray comment that she was convalescing from flu at the time, which may represent the laziness in her posture. They depict her look as "discreetly testing" and "something retained and welcoming in her curious half-grin".
The perfect accent for any space! Each wood print is unique due to the natural qualities of each individual panel of wood.