John Singer Sargent a biography Timeline

John Singer Sargent descended from one of the oldest North American Sargent’s best-known portrait, Madame X (Madame colonial families. His father, Fitzwilliam Sargent, a Philadelphia physician, Pierre Gautreau), 1883–84, which he undertook married Mary Newbold Singer, the daughter of a successful local merchant, without a commission, emphasized the sitter’s 1850 in 1850. To recover from the loss of their first child, the couple left for daring personal style with a color palette and bravura Europe, and though their journey was meant to be short, they became brushwork inspired by the Spanish master, Velázquez. expatriates. John was born in Florence, Italy, in 1856. Madame Pierre Gautreau (1859–1915), an American The Sargents considered Paris their home base and moved around the woman born Virginie Amélie Avegno in Louisiana, was continent with the seasons—spending warmer months in cooler locations the wife of a wealthy French banker, who distinguished 1856 John Singer Sargent was born like the Alps and colder times of year in sunny places like Florence. As herself among Parisian high society with her beauty on January___ in Florence, Italy a result, Sargent received little regular schooling, but he learned Italian, and fashion. The painting took well over a year to French, and German and studied geography, arithmetic, and literature with complete and depicted Gautreau in a provocative pose his father. His mother, an amateur artist, encouraged him to paint and draw. and revealing gown, the right strap slipping from her In 1873, he began his formal artistic training at the Accademia di Belle Arti shoulder. When it was unveiled at the 1884 Salon, it in Florence. Impressed by his son’s talent, Sargent’s father supported his was regarded as a succès de scandale. Critics rebuked move to Paris in 1874. Sargent’s indifference to traditional compositional 1860 At the time, Paris was a destination for many young artists and offered conventions, and the public was shocked by the world-class instruction in both academic settings and in the ateliers of provocation of the subject’s state of undress. Sargent established artists. Sargent studied under one such painter—the celebrated repainted the shoulder strap and kept the canvas society portraitist Charles Auguste Émile Durand, known as Carolus- for over thirty years. Sargent’s commissions in Paris Duran(1837–1917). Sargent entered Duran’s studio in 1874 and became declined, and he contemplated giving up art altogether. his most promising pupil. Duran encouraged his students to draw and In an effort to revitalize his career, Sargent relocated to England in 1886, where he found success showing works paint simultaneously without a preliminary sketch. This radical-for-the- like Carnation, Lily, Lily, Rose (1885–1886) at the Royal Academy in London. Although English patrons still 1909 Graduates from Armour Institute of Technology; time approach preserved the hesitated to sit for Sargent, Americans were eager to enlist his gifts of cosmopolitanism, and he secured several accepts employment with Holabird and Roche freshness of initial observation. portrait commissions on visits to New York and Boston between 1887 and 1889. Upon his return to England, he Duran championed the painterly was once again inundated with portrait commissions, inducing his patrons to travel to London for the sole purpose 1910 Travels to Europe; meets Gertrude Stein in Paris; freedom of artists like Rembrandt of having their likeness painted. The artist got along famously with his patrons, advising them on wardrobe 1870 van Rijn (1606–1669), Sir selection and constructing settings that could convey their social status. Over the course of eight to ten sessions, returns to U.S. and meets Arthur Davies in New York, NY Anthony Van Dyck (1599–1641), he developed an easy rapport, kept up lively conversation, and was even known to play the piano in the corner of and Diego Velásquez (1599– the studio on breaks. Without studio assistants, Sargent did 1912 Declines invitation to the 1660). Although Sargent was initially drawn to landscape painting, all the preparation and execution himself, including selecting Armory Show in New York, NY Duran pushed him to pursue portraiture. Sargent’s portrait of his teacher the frame. was well-received at the Paris Salon of 1879. Critics perceived the By 1900, Sargent was at the height of his fame, but 1913 Meets Walter Pach; participates in the Armory portrait as a fitting homage to Duran, but also a preview of the young grew increasingly weary of the demands of portrait painting. Show in Chicago, IL; leaves Holabird and Roche artist’s skill, which had already surpassed that of the master. Of Sargent’s In 1907, at the age of fifty-one, he closed his commercial early efforts, the writer Henry James (1843-1916) wrote that these studio and retired from portraiture. He continued to paint, works offered “the slightly ‘uncanny’ spectacle of a talent which on the however, pursuing architectural and landscape subjects and 1914 Moves to Michigan; purchases very threshold of its career has nothing more to learn.” devoting himself to watercolor. He died in England on fruit farm in Ludington In 1876, Sargent made his first trip to the United States April 14, 1925. 1880 accompanied by his mother and sister Emily. The family visited Niagara Falls and the Centennial Exposition in Philadelphia. Soon Images (left to right): John Singer Sargent, 1903. (Photo: James E. Purdy (1858–1933), photographer); John Singer Sargent (American, b. Italy, afterwards, he embarked upon a tour of Europe to study the works 1856–1925), Carolus-Duran, 1879, oil on canvas, 46 x 37 13/16 in. (116.8 x 96 cm), The Clark Art Institute, Williamstown, MA, Acquired by Sterling and of the Old Masters. Upon his return to Paris, he was inundated with Francine Clark, 1919, 1955.14; John Singer Sargent (American, b. Italy, 1856–1925), Madame X (Madame Pierre Gautreau), 1883–1884, oil on canvas, portrait commissions, which quickly defined his reputation. Working 82 1/8 x 43 1/4 in. (208.6 x 109.9 cm), The Metropolitan Museum of Art, Arthur Hoppock Hearn Fund 1916, 16.53; John Singer Sargent (American, 1922–1923 Submits work for the Society of steadily over the next twenty-five years, Sargent flourished as a painter b. Italy, 1856–1925), Carnation, Lily, Lily, Rose, 1885–1886, oil paint on canvas, 68 1/2 x 60 1/2 in. (174 x 153.7 cm), Tate, Presented by the Trustees Independent Artists’ annual exhibitions to aristocratic society, earning praise for his ability to capture the of the Chantrey Bequest 1887, N01615; John Singer Sargent (American, b. Italy, 1856-1925), Detail. Santa Maria della Salute, c. 1909, watercolor on individuality and personality of his sitters. paper card, 14 1/2 x 21 1/8 in. (36.83 x 53.66 cm), Joslyn Art Museum, Museum purchase, 1946.29 1923 Milwaukee Art Society opens Dawson’s first solo exhibition 1890

Mrs. Abbott Lawrence Rotch (1867–1941), born Margaret Randolph Anderson, was the daughter of Colonel Edward Clifford Anderson and Jane Margaret Randolph of Savannah, Georgia. Mrs. Rotch’s distinguished ancestry included both Thomas Jefferson and Pocahontas. In 1893, she married Abbott Lawrence Rotch (1861–1912), the son of a patrician Boston Family and a successful meteorologist, who founded the Blue Hill Meteorological Observatory in Milton, Massachusetts. Home to the oldest continuous weather record in North America, this observatory is still operational and still uses kites and balloons to gather weather data. Sargent painted Mrs. Rotch is the courtyard of art collector and philanthropist Isabella Stewart 1900 1948 Visits New York, NY Gardner’s home at Fenway Court (today the Isabella Stewart Gardner Museum) in 1903. Typical for the first time since 1910 of Grand Manner portraiture, a style of portrait painting that utilized classical poses and settings to convey the dignified status of the subject, mid-1950s Begins Mrs. Rotch is posed before a wintering in Sarasota, FL pillar with her right arm leaning on a chaise longue covered in an ornately patterned fabric. Her posture favorably displays her blue-and-white décoletté 1910 1966 Grand Rapids Art Museum evening gown and voluminous opens Dawson’s first retrospective blue stole. This dress, designed by the Parisian couturier 1968 Diagnosed with cancer; sells Callot Soeurs, would have farm and moves to Sarasota, FL signified Mrs. Rotch’s wealth, sophistication, and modern taste while allowing the artist Callot Soeurs, Evening dress, about 1900 and John Singer Sargent, Mrs. Abbott Lawrence 1969 Work is shown in New York at Robert to showcase his masterful Rotch, 1903 on view in a special installation for Joslyn Art Museum’s Merriam gallery, Schoelkopf’s gallery; Dies on August 15 in Sarasota, FL handling of light and texture. spring to fall of 2019. This painting was included in an exhibition of Sargent’s portraits at the Museum of Fine Arts, Boston in the summer of 1903. The critic for The Boston Evening Transcript praised its 1920 “superb breadth, ease and virtuosity” and “utmost descriptive shrewdness… combined with extraordinary decorative splendor.”

John Singer Sargent Discussion Questions (American, b. Italy, 1856–1925) What Mrs. Abbott Lawrence Rotch m 1903 How m 1930 oil on canvas, 69 3/4 x 49 1/2 in. (177.2 x 125.7 cm) How Lent Anonymously, L-1987.5

Teachers: go to www.joslyn.org/education for this poster’s related academic standards and lesson plans. Background Image: Callot Soeurs (French, active 1895-1937), Evening dress, about 1900, silk, chiffon, and linen lace, Joslyn Art Museum, Lent anonymously, L-2018.1

Callot Soeurs Sargent in Boston The evening gown worn by Mrs. Rotch for her portrait by John Singer Sargent was designed by the Parisian couture, or high fashion, firm, A decidedly international figure, John Singer Sargent considered (1890-1919), is regarded as his finest accomplishment. Depicting the progress of society from paganism to Callot Soeurs (“Callot Sisters”). The Callot Boston to be his American home, maintaining close ties to the city Christianity, the artist employed an innovative illumination technique in the murals and embedded wood, sisters— Marie Callot Gerber, Marthe Callot and its citizens, including the art collector and philanthropist Isabella plaster, glass and other materials into the panels to create a raised relief. In 1916, he was contracted to produce Bertrand, Regina Callot Tennyson-Chantrell, Stewart Gardener (1840–1924), whom he had met in London in 1886. decorations for the new building of the Museum of and Joséphine Callot Crimont—opened their Gardner greatly admired Sargent’s daring portrayal of Madame X, and Fine Arts. Inspired by the museum’s role as a steward salon in 1895 on the fashionable Rue Taitbout commissioned her own portrait in 1888. Upon its completion and of fine arts, he conceived a program of allegorical in Paris, and it soon became one of the great exhibition in the St. Botolph Club in Boston, Gardner declared her murals. He also painted a World War I memorial at couture houses of the Belle Époque. The portrait to be the finest work Sargent had ever painted. In it, she stands Harvard University’s Widener Library. These Boston daughters of a lacemaker and an artist, the in front of a halo-patterned endeavors added sisters produced creative designs with intricate fabric, giving her a sacramental the distinction embellishments and luxurious materials. quality, her waist is adorned of public art to They developed a technique of reconstituting with strings of baroque pearls, Sargent’s already antique lace from the eighteenth century which she collected. Gardner’s esteemed career. to suit modern tastes. They were immensely forthright pose and fitted dress On November 3, popular, and their dresses, which combined garnered great attention in 1925, the Museum elegance and comfort, appealed to modern Boston social circles, and her of Fine Arts, Boston women. Lead designer Madame Marie Gerber husband refused to allow the honored Sargent famously explained, “The dress is everything work to be shown in public with a memorial which should be part of the woman, not the again during his lifetime. exhibition just woman part of the dress.” Their presentation In 1903, Sargent set up a months after his as the 1900 Paris Universal Exposition elevated temporary studio in the Gothic death. their international profile, and they cultivated Room of Gardner’s mansion. European and American clientele. There, he executed portraits of After Marie died in 1927, the firm struggled many prominent Bostonians, Images (left to right): John Singer Sargent (American, b. Italy, 1856–1925), Isabella Stewart Gardner, 1888, oil on canvas, 74 13/16 x 31 1/2 in. (190 x and was taken over by her son. Without her including Mrs. Rotch. Sargent’s commitment to Boston is apparent in his murals, the projects 80 cm), Isabella Stewart Gardner Museum, P30w1; John Singer Sargent paints Gretchen Osgood Warren, and her daughter Rachel, in the Isabella Callot Soeurs (French, active 1895-1937), Evening dress, about vision, the couture house ultimately closed in Stewart Gardner Museum’s Gothic Room. (Photo: J. Templeman Coolidge, April 1903); John Singer Sargent (American, b. Italy, 1856–1925), Mrs. 1900, silk, chiffon, and linen lace, Joslyn Art Museum, Lent ten years, but Callot Soeurs’ legacy lives on in which he considered to be the most important works of his career. In 1890, he was commissioned to paint a major cycle of decorations Fiske Warren (Gretchen Osgood) and Her Daughter Rachel, 1903, oil on canvas, 60 x 40 3/8 in. (152.4 x 102.55 cm), Museum of Fine Art, Boston, Gift anonymously, L-2018.1 the many designers who trained there. of Mrs. Rachel Warren Barton and Emily L. Ainsley Fund, 64.693; Boston Public Library, Copley Sq. Sargent Gallery, ca. 1916, photographic print, 9 for the Boston Public Library. The work,The Triumph of Religion 1/2 x 7 3/4 in. (24.13 x 19.69 cm), Boston Public Library, 08_02_004269 poster © 2019 Joslyn Art Museum This poster is part of Joslyn’s Schools, Teachers, and Technology programming and is supported by the following: Gilbert M. and Martha H. Hitchcock Foundation, Holland Foundation, H. Lee and Carol Gendler Charitable Fund, Lincoln Financial Foundation, The Adah and Leon Millard Foundation, Mammel Family Foundation, The James C. Mangimeli Grant for Art Education, Midlands Community Foundation, Omaha Public Schools Foundation, Omaha Steaks, Pacific Life Foundation, Parker Family Foundation, Peter Kiewit Foundation, Pottawatamie County Community Foundation, Fred and Eve Simon Charitable Foundation, Streck, U.S. Bank Foundation, Wells Fargo, and Whitmore Charitable Trust JOHN SINGER SARGENT (American, b. Italy, 1856–1925) JOSLYN ART MUSEUM© OMAHA, NEBRASKA Lent Anonymously, L-1987.5 MRS. ABBOTT LAWRENCE ROTCH 1903, oil on canvas, 69 3/4 x 49 1/2 in. (177.2 x 125.7 cm)