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John Singer Sargent's Cosmopolitan Aesthetics

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John Singer Sargent's Cosmopolitan Aesthetics ! ! ! ‘Curiouser and Curiouser': John Singer Sargent’s Cosmopolitan Aesthetics ! ! 2 Volumes ! Volume I of II ! ! ! Elizabeth Susannah Renes ! ! ! Ph.D. ! ! ! UNIVERSITY OF YORK ! ! ! HISTORY OF ART ! ! ! January 2015 Abstract ! In the introduction to her For Maurice: Five Unlikely Stories (1927), Vernon Lee recounts her childhood wonderings in Italy with a young John Singer Sargent, remarking: ‘…mysterious, uncanny, a wizard, serpent, sphinx; strange, weird, curious. Such, at all events, were the adjectives, the comparisons, with which we capped each other, my Friend John and I… .’1 Curious is, indeed, a curious term. This word and its associates - bizarre, strange, and exotic - appear habitually in the literature surrounding Sargent, including in critical reviews and personal letters. In the wider scope oF the late nineteenth century, the term has an undeniable Aesthetic connotation, being used widely by Pater and Lee herselF, most notably in Pater’s discussion of the Mona Lisa From his Leonardo essay oF 1869. A previously unexplored letter From Sargent to Lee From 20 July 1881 includes a Fascinating and little discussed reFerence to Pater, with Sargent stating, ‘Tell me what you think oF Pater’s essays, I like one or two oF them very much’2 which, in combination with a letter From Lee to her mother in June oF the same year, stating that, ‘he [Sargent] goes in for art for art’s sake’3 implies a tantalizing thread oF association. Did Sargent consider himselF a member oF the Aesthetic cult? IF so, is it possible to read the oFten eccentric and enigmatic body oF works produced in his early career, between 1878 and 1886, as being inluenced by and acting as a response to Aesthetic texts? The aim oF this dissertation is ultimately to answer with a resounding ‘yes’ by examining closely Sargent’s earliest works in order to assert that they were created, and perFormed in participation with many oF the dialogues surrounding beauty and sensation in the last quarter of the nineteenth century. [1 Vernon Lee, For Maurice: Five Unlikely Stories, (London: Jay Lane, 1927), xxx-xxxi. I would like to thank Catherine Maxwell for bringing this text to my attention. [2 Richard Ormond, “John Singer Sargent and Vernon Lee,” The Colby Quarterly, v. 9, no. 3 (September 1970), 17. 3[ Irene Cooper Willis, Vernon Lee’s Letters, (London: Privately Printed, 1937), 63. [ii Table of Contents Abstract ____________________________________________________________________________________ii Table of Contents _______________________________________________________________________ iii List of Illustrations ________________________________________________________________________ v Acknowledgements ___________________________________________________________________xix Author’s Declaration __________________________________________________________________ xx Introduction _______________________________________________________________________________ 1 I: Curious Impressions and Critical Codes: A Philological Approach to Sargent’s Critical Reviews __________________________________________________________________________ 35 I/impression(ist)/m ____________________________________________________________ 37 The ‘Impression’ in Contemporary Movements _______________________________ 51 Symbols, Ciphers and Codes ___________________________________________________ 55 Sargent and the ‘Curious, Strange and Bizarre’ _______________________________ 62 Literary Sources and Referents _________________________________________________ 65 II: The Aesthetic Mentorship of Vernon Lee, Carolus-Duran, Henry James and J. M. Whistler _________________________________________________________________________________76 Vernon Lee _______________________________________________________________________ 79 Charles Auguste Émile Durand or Carolus-Duran _____________________________ 88 Henry James _____________________________________________________________________ 93 James McNeill Whistler ________________________________________________________ 106 III: ‘The Dirty Picturesque’: Sargent’s Orientalism and Exoticism __________________117 The Textual Orient: Fromentin, Ruskin, Pater and Wilde ___________________ 125 Rooftop Rosina: Capri and Naples ____________________________________________ 133 ‘Strange Fiorituras and Guttural Roulades’: Spain and El Jaleo 138_____________ Atmospheric Contrasts: Morocco and Venice _______________________________ 153 IV: Portraits d’Enfants: The Aesthetic Child __________________________________________ 160 The Pailleron Children and the ‘Frankly Individual Being’ __________________ 164 diii The Daughters of Edward Darley Boit: The Cosmopolitan Child ___________ 169 Visual Analysis: Sargent, Millais, and Renoir _________________________________ 178 ‘A Signieicant Vulgarity’: The Looking, Watchful Child _____________________ 186 Pure Aesthetics: Ornament and Pattern _____________________________________191 In Pastoral Array: Carnation, Lily, Lily, Rose _________________________________ 193 V: ‘The Mystery of White Things’: Sargent’s Colour Studies ________________________ 200 The Complexity of Colour: Tradition, Symbolism and Science _____________ 202 A Timeline of ‘White Studies’: Rossetti and Whistler _______________________ 207 Sargent, Whiteness and the Sculptural Body ________________________________ 212 From Dazzling Whites to Half Real Reds: Visual and Symbolic Shifts ______ 218 Sargent’s ‘White Girls’: Mrs. Henry White and Madame X 224___________________ ‘A Return to Fifteenth Century Ideals’ ________________________________________ 236 ‘There is an end on’t’: Conclusion ____________________________________________________ 243 Appendix A _____________________________________________________________________________ 251 Appendix B _____________________________________________________________________________ 256 Bibliography ___________________________________________________________________________ 288 Part I: Primary Sources (before 1925) _____________________________________________ 288 Part II: Critical Reviews A: Exhibition Monographs (France) _______________________________________ 297 B: Serial Publications with Authors _______________________________________ 298 C: Serial Publications without Authors ____________________________________ 306 D: Newspapers ______________________________________________________________ 308 Part III: Archival Material ___________________________________________________________ 310 Part IV: Secondary Sources _________________________________________________________ 311 Volume II Illustrations ___________________________________________________________________________ 338 div Illustrations ! ! Introduction 1. Sir John Lavery, The Opening of the Modern Foreign and Sargent Galleries at the Tate Gallery, 26 June 1926, 1929. Oil on Canvas, 85.7 x 116.8 cm. Tate, London. Reproduced from Tate Collections Database, http://www.tate.org.uk (accessed March 2, 2014). ! 2. John Singer Sargent, Carnation, Lily, Lily, Rose, 1885-86. Oil on Canvas, 174 x 153.7 cm. Tate, London. Reproduced from Tate Collections Database, http:// www.tate.org.uk (accessed March 2, 2014). ! 3. John Singer Sargent, Claude Monet Painting By the Edge of the Wood, 1885. Oil on Canvas, 54 x. 64.8 cm Tate, London. Reproduced from Tate Collections Database, http://www.tate.org.uk (accessed March 2, 2014). ! 4. John Singer Sargent, A Morning Walk, 1888. Oil on Canvas, 67.3 x 50.2 cm. Private Collection. Reproduced from Ormond and Kilmurray, Figures and Landscapes, 1883-1899, 159. ! 5. Claude Monet, Woman with a Parasol – Madame Monet and Her Son, 1875. Oil on Canvas, 119.4 x 99.7 cm. National Gallery of Art, Washington, D.C. Reproduced from National Gallery Collections Database, http://www.nga.gov (accessed November 18, 2014). ! 6. John Singer Sargent, Madame X, 1883-84. Oil on Canvas, 208.6 x 109.9 cm. Metropolitan Museum of Art, New York. Reproduced from Met Collections Database, http://www.metmuseum.org/collection (accessed March 2, 2014). ! 7. Edouard Manet, Study for Le Balcon: Portrait of Mademoiselle Claus, 1868. Oil on Canvas, 111 x 70cm. Ashmolean Museum, Oxford. Reproduced from Ashmolean Collections Database, http://www.ashmolean.org (accessed March 7, 2014). ! 8. Edouard Manet, Irises, 1880. Watercolour on Paper, 35.5 x 25.4 cm. Private Collection. Reproduced from Ormond and Kilmurray, The Early Portraits, 16. ! \v 9. John Singer Sargent, Fumée D’Ambregris, 1880. Oil on Canvas, 139.1 x 90.6cm. Sterling and Francine Clark Art Institute, Williamstown, Mass. Reproduced from Clark Art Collections Database, http://www.clarkart.edu (accessed November 18, 2014). ! 10. John Singer Sargent, Portrait D’Enfants or The Daughters of Edward Darley Boit, 1882. Oil on Canvas, 221.9 x 222.5 cm. Museum of Fine Arts, Boston. Museum of Fine Arts Collections Database, http://www.mfa.org (accessed March 3, 2014). ! 11. John Everett Millais, Autumn LeaVes, 1856. Oil on Canvas, 104.3 x 74 cm. Manchester City Art Galleries, Manchester. Reproduced from ArtStor, http:// www.artstor.org (accessed March 3, 2014). ! 12. Pierre Auguste Renoir, Children’s Afternoon at the Wargemont, 1884. Oil on Canvas, 173 x 127 cm. Alte Nationalgalerie, Staatliche Museen Ze Berlin, Berlin. Reproduced from ArtStor, http://www.artstor.org (accessed March 3, 2014). ! 13. John Singer Sargent, Margaret Stuyvescent Rutherfurd White, or Mrs. Henry White, 1883. Oil on Canvas, 225.1 x 143.8 cm. Corcoran Gallery of Art, Washington, D.C. Reproduced from Corcoran Collections Database, http:// collection.corcoran.org
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