John Singer Sargent

John Singer Sargent, 1856–1925, American painter, b. Florence, Italy, of American parents, educated in Italy, France, and Germany. In 1874 he went to Paris, where he studied under Carolus-Duran. He remained there for 10 years except for visits to the United States, Spain, and Africa. From his first exhibit in the Salon of 1878 he received early recognition, and by 1884, when he moved to London, he already enjoyed a high reputation as a portrait painter. He spent most of the remainder of his life there, painting the dashing portraits of American and English social celebrities for which he is famous. For a considerable period of time, Sargent was the world's best-known and most highly paid portrait painter. In 1890 he was commissioned by the architect Charles McKim to paint a series of murals, The History of Religion, for the Boston Public Library. He completed them in 1916.

An untiring and prolific painter of great facility, Sargent was particularly brilliant in his treatment of textures. In his portraiture he showed great virtuosity in his handling of the brushstrokes, quickly capturing the likeness and vitality of his subject. His portraits nearly always flattered his sitters; he remarked upon this once, saying his was a pimp's profession. During his youth, and again after 1910, he deserted portrait painting long enough to produce a large number of brilliant impressionistic landscapes in watercolor, many of them painted in Venice and the Tyrol. Of these, fine collections are in the Museum of Fine Arts, Boston, and the Brooklyn Museum. His portraits and figure pieces are housed in many private and public collections in England and the United States. Well-known examples are the portrait of Isabella Stewart Gardner and El Jaleo (Gardner Mus., Boston); the portraits of Madame X, the Wyndham sisters, Henry Marquand, and William Merritt Chase (Metropolitan Mus.); The Fountain (Art Inst., Chicago); and Children of E. D. Boit (Mus. of Fine Arts, Boston). During the late 1990s and early 2000s Sargent was subject to wide-ranging critical reappraisal, provoking a renewed appreciation for his work.

See E. Kilmurray and R. Ormond, ed., John Singer Sargent: The Complete Paintings, (3 vol., 1998–2003); biographies by P. Hills (1986), S. Olson (1986), T. J. Fairbrother (1994), and E. Kreiter and M. Zabludoff (2002); studies by T. J. Fairbrother (1986 and 2000), E. Kilmurray, ed. (1998), C. Little and A. Skolnick, ed. (1999), C. Ratcliff (2001), and B. Robertson, ed. (2003).

The Columbia Encyclopedia, 6th ed. Copyright© 2015, The Columbia University Press.

John Singer Sargent: Selected full-text books and articles

John S. Sargent: His Life and Work By William Howe Downes Little, Brown, 1925
Sargent, Whistler, and Mary Cassatt By Frederick A. Sweet Art Institute of Chicago, 1954
Saluting Sargent By Goode, Stephen Insight on the News, Vol. 15, No. 12, March 29, 1999
Sargent Major By Rosenblum, Robert Artforum International, Vol. 37, No. 1, September 1998
FREE! Picture and Text By Henry James Harper & Brothers, 1893
Librarian’s tip: Discussion of John S. Sargent begins on p. 92
Critical Issues in American Art: A Book of Readings By Mary Ann Calo Westview Press, 1998
Librarian’s tip: Chap. 12 "The 'Earnest, Untiring, Worker' and the Magician of the Brush: Gender Politics and the Criticism of Cecilia Beaux and John Singer Sargent"
FREE! How to Study Pictures By Charles H. Caffin Century, 1906
Librarian’s tip: Chap. XXVIII "Whistler -- Sargent"
World-Famous Paintings By Rockwell Kent Wise, 1939
Librarian’s tip: Discussion of John Singer Sargent begins on p. 399
The Gay Nineties in America: A Cultural Dictionary of the 1890s By Robert L. Gale Greenwood Press, 1992
Librarian’s tip: Discussion of John Singer Sargent begins on p. 319
Later Years of the Saturday Club, 1870-1920 By M. A. De Wolfe Howe Houghton Mifflin, 1927
Librarian’s tip: "John Singer Sargent" begins on p. 407
American Profile, 1900-1909 By Edward Wagenknecht University of Massachusetts Press, 1982
Librarian’s tip: "John Singer Sargent, Painter" begins on p. 285
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