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Franz Xavier Kosler (Vienna, 1864 – Siracusa, 1905)
Franz Xavier Kosler (Vienna, 1864 – Siracusa, 1905) Portrait of a man, as Giacomo Orlandi di Subiaco c. 1885-95 Oil on canvas, laid on panel; signed lower right ‘F. Kosler’ 61 x 49 cm. Franz Kosler is one of the most celebrated Orientalist painters of his time, renowned for the remarkable human sensitivity with which he was able to capture the character and intimate dignity of his often anonymous sitters (Figs. 1, 2). This quality emerges all the more clearly when one compares his intense portraits with those of many of his contemporaries, who were used to the superficial interpretation of so-called ‘Orientalist’ subjects. Kosler studied under the renowned Austrian painter Leopold Carl Müller at the Academy of Fine Arts in Vienna. Highly influenced by his master’s work, in 1886 Kosler started travelling extensively, visiting Dalmatia, Montenegro, Albania, Egypt and Italy, and specialising in tender close-up portraits of sitters dressed in traditional clothing, such as the one here presented. There are portraits that, beyond depicting the face of a particular sitter, embody the ideal beauty of a time and a place, as perceived by the artists’ sensitivity. This is the case, for example, of the portraits of Rosina Ferrara (1861 - 1934), a girl from Capri who became the most popular model for foreign artists present on the island in the 1870s, including John Singer Sargent, who portrayed her numerous times (Fig. 3). Similarly, the marked features of the protagonist of this intense portrait, immediately recall those of a man called Giacomo Orlandi who lived in Subiaco in the second half of the 19th century. -
Sargent Tradition- Al Society Portrait Painter Or Revolu
JOHN SINGER SARGENT PAGE 58/80 FEATURE PAGE 59/80 Si Sapsford in that the light bounces off the ridges of SARGENT the paint and raises the tonal value of conversation with the that particular area; that’s why it always TRADITION- curator Richard Ormond catches the light. Because he doesn’t have this early on, the tonal range is somewhat AL SOCIETY and the painter Rupert compressed. Later, the lightest light Alexander. becomes extended because of the impasto PORTRAIT that he uses – the kind of impasto Rembrandt and Titian pioneered. PAINTER OR Surrounded by the better-known Sargent Richard Ormond: Yes. Like the paintings: Dr. Pozzi; Carolus-Duran; and painting of Dr. Pozzi – this passage here REVOLU- Sargent’s first double portrait of the children of is straight out of Van Dyke and Titian Édouard Pailleron, we start talking about the – he’s even got the gesture and, also, TIONARY painting of Marie Buloz Pailleron, Madame the way that he has painted the white is LANDSCAPE Édouard Pailleron, which – whilst both very Velázquez; there’s a looseness and Rupert and Richard agree that is not their abstraction coming through. PAINTER? favourite painting – does bring the conversation RA: Well, as Carolus-Duran taught him, immediately to the subject of Sargent’s technique painting was all about abstract shapes; and to his modern impressionistic style; something not thinking too much about what you that I am keen to know more about. It doesn’t are painting but more about tonal shapes seem possible to look at his work without and how they relate to each other. -
John Singer Sargent Gassed Opens Feb. 23
News Release Friday, Jan. 12, 2018 Contacts: Mike Vietti, National WWI Museum and Memorial, (816) 888-8122, [email protected] “Extraordinary” and “Colossal” Painting to be Centerpiece of Debut Exhibition in National WWI Museum and Memorial’s New Wylie Gallery John Singer Sargent Gassed Opens Feb. 23 KANSAS CITY, Mo. – One of the world’s largest war-related paintings will be exhibited in the Midwest for the first time as part of the inaugural Wylie Gallery exhibition John Singer Sargent Gassed as announced today by the National WWI Museum and Memorial. Gassed, which measures a staggering 21-feet long by nine-feet tall, is a landmark painting from famed artist John Singer Sargent depicting a line of British soldiers blinded by exposure to poison gas at a dressing station. Considered one of the most important war-related works of the past several centuries, Gassed was hailed as “monumental” by the New York Times, a “masterpiece” by the Daily Mail, “magnificent” by the Telegraph, “epic” by the Associated Press and “extraordinary” by The Guardian. Upon viewing the painting for the first time, Sir Winston Churchill referred to the work as “brilliant genius.” Today’s announcement falls on the birthday of Sargent, who was born on Jan. 12, 1856 to American parents in Florence, Italy. “The significance of this painting cannot be understated – Gassed is one of the most important works of art from one of the preeminent artists of the past two centuries,” said National WWI Museum and Memorial President and CEO Dr. Matthew Naylor. “Gassed is a national treasure in the United Kingdom and bringing this magnificent painting to the National WWI Museum and Memorial stands as one of the most important achievements in our history.” The historic painting is making its debut in the Midwest and is in the United States for just the second time since its completion in 1919. -
2B77958a.Pdf
sargent, monet... and manet Elaine Kilmurray In December 2006, I went to Paris to look at a cache of over a thousand letters written to Claude Monet by fellow artists (Caillebotte, Mary Cassatt, Cézanne, Manet, Pissarro, Renoir, Rodin, Sisley), writers (Octave Mirbeau, Gustave Geffroy) and his principal dealer (Paul Durand-Ruel) that had remained in the collection of Monet’s descendents and were about to be auctioned. They had passed through generations of the Monet family and many were unreleased and/or unpublished. Those of us working on the John Singer Sargent catalogue raisonné project were particularly interested in seventeen letters from Sargent to Monet. There has always been a sense of the provisional in accounts of the relationship between the two artists, a scarcity of fixed points and an absence of detail. We wanted to see how illuminating these letters were and how helpful they might be in filling lacunae and deepening our understanding. The timing was fortuitous: we were engaged on research for Volume V of the catalogue raisonné, in which we would catalogue Sargent’s most ‘Impressionist’ paintings. At the Artcurial auction house, I spoke to Thierry Bodin, who had done initial transcriptions of all the letters for the sale catalogue to a daunting deadline. The members of the catalogue raisonné team have struggled with Sargent’s writing (especially when in French, Italian or Spanish) for decades, and it was gratifying to hear from M. Bodin that, while Octave Mirbeau’s tight, closely worked hand had given him the most trouble, Sargent’s had come a close second. -
John Singer Sargent in Historical Fiction
Sargentology.com John Singer Sargent in Historical Fiction Mary F. Burns ____________________________________ Survey of Fiction That Features Sargent as a Character John Singer Sargent appears as a fictional character in relatively few but widely varied works of fiction: Children’s and Young Adult books, short stories, literary fiction, mystery stories, a play and even a ballet. We’ll take each category in turn. Children’s and Young Adult Books One of the more interesting YA stories to feature Sargent as a character was Douglas Rees’s The Janus Gate1 (2006), a weirdly scary, paranormal tale of Gothic-style haunting involving the daughters of Edward Darley Boit. Sargent, while painting his famous portrait of the Boit girls, is drawn into the secret psychological world of the four neglected children of a neurotic mother, with dire consequences and intense challenges to the painter’s courage and sense of honor. His painting technique and style are delineated in some detail, and Sargent is portrayed as a polite, sensitive, astute observer. The story is told in his first- person point of view. The opening paragraph, addressed to the reader, gives a good sense of how the reader is to experience him: I have always been a man of first impressions. They strike me like bursts of light and overwhelm me, reducing me to silence, or to stuttering, telegraphic speech. I wave my hands and try to say something such as, “This painting of Millet’s is far too realistic for my taste. See how he has tried to get the absolute reality of every inch of the surface of these rocks, every leaf of these trees. -
Sargent: Portraits of Artists and Friends
Elizabeth W. Doe exhibition review of Sargent: Portraits of Artists and Friends Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Citation: Elizabeth W. Doe, exhibition review of “Sargent: Portraits of Artists and Friends,” Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015), http://www.19thc- artworldwide.org/autumn15/doe-reviews-sargent-portraits-of-artists-and-friends. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Doe: Sargent: Portraits of Artists and Friends Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Sargent: Portraits of Artists and Friends National Portrait Gallery London, England February 12–May 25 2015 The Metropolitan Museum of Art New York, New York June 30–October 4, 2015 Catalogue: Sargent: Portraits of Artists and Friends. Edited by Richard Ormond with Elaine Kilmurray. New York: Skira Rizzoli, 2015. 256 pp.; 135 color illus.; index. $60.00 ISBN: 978-0847845279 In the last decade, a succession of John Singer Sargent exhibitions have focused on the artist’s impressionistic, dappled light and images of elegant women, swathed in lush fabric. While these familiar tropes certainly appear in the Metropolitan Museum’s recent exhibition, Sargent: Portraits of Artists and Friends, the exhibition's curators took pains to demonstrate that the artist’s interests expanded well beyond grand manner portraits of upper class sitters. By emphasizing themes of experimentation and intimacy, the show carved out a new space for the productive consideration of John Singer Sargent (1856–1925) as a portraitist, significantly amplifying his more familiar body of work as a society painter. -
John Singer Sargent John Singer Sargent Reproduced with Permission of Punch Ltd
A LEARNING RESOURCE IN FOCUS Featuring works from the Gallery’s Collection, a series of resources focusing on particular artists whose practice has changed the way we think about the art of portraiture and in turn influenced others. by Sir (John) Bernard Partridge, circa 1925. circa Sir (John) Bernard Partridge, by by Alvin Langdon Coburn, 1907 © reserved; collection National Portrait Gallery, London. NPG Ax7779 Gallery, London. collection National Portrait 1907 © reserved; Coburn, Alvin Langdon by John Singer Sargent John Singer Sargent Reproduced with permission of Punch Ltd. NPG D6612a with permission of Punch Reproduced JOHN SINGER SARGENT John Singer Sargent (1856-1925) was the greatest portrait painter of his generation. Sargent combined elegance with a keen eye for distinctive details that convey the essential characteristics of a sitter. Acclaimed on both sides of the Atlantic, he was closely connected to many of the other leading artists, writers, actors and musicians of the time. In Focus: John Singer Sargent Page 1 of 13 INTRODUCTION The son of an American doctor, Sargent was born in Florence. He studied painting in Italy and with Carolus-Duran This is one in a series of ‘In Focus’ resources, aiming to in France and in 1884 caused a sensation at the Paris Salon discuss particular artists whose practice has changed the with his daring and unconventional painting of Madame way we think about the art of portraiture, featuring works X (Madame Pierre Gautreau). He portrayed the beautiful from the National Portrait Gallery Collection. It is useful to American, who was married to a French banker, in an look at developments in portrait painting through the lens unusual pose; her left arm twisted, her head in profile and of a single, significant artist, appreciating their techniques her shoulders bare, initially with one strap of her black gown and innovations, and the way that they have been slipped off her right shoulder (this study is held in the Tate influenced by the advances of others and how in making Collection). -
A Consideration of the Soccer Match in John Singer Sargent's Gassed
Article The first ever anti-football painting: A consideration of the soccer match in John Singer Sargent’s "Gassed" Adams, Iain Christopher and Hughson, John Ewing Available at http://clok.uclan.ac.uk/7462/ Adams, Iain Christopher and Hughson, John Ewing ORCID: 0000-0002-7030- 4806 (2013) The first ever anti-football painting: A consideration of the soccer match in John Singer Sargent’s "Gassed". Soccer & Society, 14 (4). pp. 502- 514. ISSN 1466-0970 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1080/14660970.2013.810433 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk ‘The first ever anti-football painting’? A consideration of the soccer match in John Singer Sargent’s Gassed Iain Adams and John Hughson International Football Institute, University of Central Lancashire, Preston, UK Email addresses: [email protected]; [email protected] Abstract The paper presents a discussion of Gassed, a large oil painting by John Singer Sargent displayed at the Imperial War Museum in London. -
Edward Elgar and John Singer Sargent
The Last Late-Romantics: Edward Elgar and John Singer Sargent Arthur S. Reynolds Although they were distinguished artistic contemporaries, the paths of Elgar and the painter John Singer Sargent crossed on very few occasions, and then only as dinner guests of a mutual friend. And yet they may have had more in common than their passing acquaintance suggests. This article draws parallels between their respective careers and temperaments, and finds much in both of their lives that casts an informative light on the other. March 1905 was a busy time in the life of Sir Edward Elgar. The month began in Birmingham, where Elgar had gone to supervise preparations for the inaugural lecture he was to give on 16March as Birmingham University’s first Peyton Professor of Music. By 4 March he was back at ‘Plâs Gwyn’ to collect Alice for an urgent London train journey to rehearse the London Symphony Orchestra for a concert at Queen’s Hall on 8 March. The programme would include two premières: Elgar’s new march, Pomp and Circumstance No. 3, and his ‘string thing’, the Introduction and Allegro for String Quartet and String Orchestra. As usual on important London occasions, the Elgars stayed with Frank Schuster at his house in Old Queen Street, Westminster. Schuster celebrated the performances of the new works with a grand dîner on 12 March. Among the guests was John Singer Sargent, by common consent the finest portrait painter then living. This was the third time the two titans of their respective art forms had encountered one another in Frank Schuster’s dining room. -
POISON GAS in WORLD WAR I by Michael Neiberg
June 2012 September 2013 POISON GAS IN WORLD WAR I By Michael Neiberg Michael Neiberg is Professor of History in the Department of National Security Studies at the US Army War College in Carlisle, PA. He has been a Guggenheim fellow, a founding member of the Société Internationale d’Étude de la Grande Guerre, and a trustee of the Society for Military History. His most recent book on the First World War is Dance of the Furies: Europe and the Outbreak of World War I (Harvard University Press, 2011). In October, 2012 Basic Books published his The Blood of Free Men, a history of the liberation of Paris in 1944. In May, 1919, just as the diplomats of the great powers were putting the final touches on what became the Treaty of Versailles, Britain’s Royal Academy of Arts awarded its painting of the year to John Singer Sargent’s “Gassed” (http://jssgallery.org/Paintings/Gassed/Gassed.htm). Sargent, an American, was then 62 years old and already a legend in the art world for his portraits and his epic grand paintings. On the strength of those paintings, he had received a commission from the British government to paint an epic picture for the proposed Hall of Remembrance in London. Unsure of his approach for so crucial a painting, Sargent wrote to a friend to express his concern that he would not be able to find a subject worthy of the grandeur and the scale that the British government wanted for the hall. Sargent had already seen his share of the horrors of the war as an official artist for the American government, yet nothing he had yet seen seemed to him sufficient for the new work. -
John Singer Sargent's Lady Agnew of Lochnaw
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery John Singer Sargent’s Lady Agnew of Lochnaw Jane Clark 21 and 22 October 2015 14 November 2015 Why do people still routinely fall in love with Gertrude Agnew, 123 years after John Singer Sargent completed her portrait? I’ll suggest it’s the potent combination of personalities, paint, and, importantly I think, evolved biology. When she’s at home in the Scottish National Gallery, the guards apparently call her ‘the hussy’ because of the regularity with which visitors rush in to make sure she’s there. And now she’s here in Sydney, to seduce a whole new audience… Select slide list John Singer Sargent, Lady Agnew of Lochnaw, 1892, Scottish National Gallery, Edinburgh Anthony van Dyck, Rachel de Ruvigny, Countess of Southampton, c. 1640, NGV, Melbourne Joshua Reynolds, Susanna Gale, c. 1763-4, NGV, Melbourne John Singer Sargent, Monet painting by the edge of a wood, probably 1885, Tate, London Édouard Manet, Portrait of Mademoiselle Claus, 1868, Ashmolean Museum, University of Oxford Carolus-Duran, Mademoiselle de Lancey, 1876, Le Petit Palais, Paris Velásquez, Rokeby Venus, c. 1647–51, National Gallery, London Édouard Manet, Olympia, 1863, Musée d'Orsay, Paris François Sallé, The Anatomy Class at the Ecole des Beaux Arts, 1888, AGNSW, Sydney John Singer Sargent, Carolus-Duran, 1879, The Clark Art Institute, Williamstown, MA John Singer Sargent, En route pour la pêche (Setting Out to Fish) also known as ‘Oyster gatherers of Cancale’, 1878, Corcoran Collection, National Gallery of Art, Washington, D.C. -
Performing Identities in the Art of John Singer Sargent Leigh Culver
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 1999 Performing Identities in the art of John Singer Sargent Leigh Culver Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Art and Architecture Commons Recommended Citation Culver, Leigh, "Performing Identities in the art of John Singer Sargent" (1999). Publicly Accessible Penn Dissertations. 3084. https://repository.upenn.edu/edissertations/3084 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3084 For more information, please contact [email protected]. Performing Identities in the art of John Singer Sargent Abstract In the elegant society portraits by John Singer Sargent, body language created social identities. The fallen dress strap and obvious makeup in Madame X, for example, declared her a “professional beauty”; the costume of Charles Stewart proclaimed him a British lord. Critics often conflated appearance and character in Sargent's images, yet Sargent used theatre and masquerade in numerous works to problematize essentialist links between appearance and character that were fundamental to turn-of-the-century class, gender, and racial stereotypes. This dissertation concentrates on the art Sargent produced after Madame X, as he recovered from the scandal it provoked in 1884 and as he established his patron base in England and America. Many of Sargent's later works can be seen as a response to the issues raised by Madame X concerning the relationship between appearance and character. An analysis of theatrical elements in Sargent's paintings elucidates the function of these images in variously maintaining and challenging notions of social identity. Chapter One discusses the critical reception of Sargent's art in the context of a turn-of-the-century culture engaged in classification and performance activities.