News Release

Total Page：16

File Type：pdf, Size：1020Kb

NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE N W WASHINGTON DC 20565 • 737-4215/842-6353 FOR IMMEDIATE RELEASE WASHINGTON, D,C,, August 6, 1962: John Walker, Director of the National Gallery of Art, announced today that Street in Venice, by the American artist John Singer Sargent (1856-1925), has been ac quired by the National Gallery through a gifc from the Avalon Found ation. The painting will go on exhibition in a special installation in Lobby D, off the East Garden Court, on Sunday, August 12. The picture shows a slender girl, dressed in a long shawl, walk ing alone down a narrow Venetian street. A man, leaning casually against a wall, interrupts his conversation with a companion to watch her go by. The picture is painted almost completely in shades of grey, with the rapid, impressionistic brushwork that was to make Sargent the most sought-after American portraitist of his day. Painted in the 1880's, it reflects Sargent's recent trips to Spain and Holland to study the work of Velazquez and Frans Hals. The picture belonged to Sargent's friend, Stanford Whice, a partner in the architectural firm of McKim, Meade and White, and one of the most influential architects of his day. It remained in the possession of the White family until acquired for the National Gal lery of Art. "l have been in love with this picture for many years," Mr. Walker said,, "It captures the mood of Venice - - its languid, moisture-laden atmosphere, and its sense of mystery -- as few paintings I know,," John Singer Sargent was a frequent visitor to Venice, where, with American expatriate artists such as Henry James, he frequented a palace on the Grand Canal, the Palazzo Barbaro, owned by Sargent's Boston cousin, Daniel Sargent Curtis Among other visitors to the Barbaro was Isabella Stewart Gardner, who was later to build her own Venetian palace in Boston, "Fenway Court," now a museum,, Sargent, and Mrs. Gardner grew to be close friends, and various of his pictures, including his famous portrait of her, still hang in their Venetian setting at "Fenway Court." * Street j.n Venice is in oil on canvas, 17-5/8" x 21", and has been framed by the Gallery in an antique Venetian frame. End.

Copy Link

Recommended publications

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.
[Show full text]
But Why: a Podcast for Curious Kids How Do
But Why: A Podcast for Curious Kids How Do You Make Paint? June 10, 2016 [00:00:00] Tell your parents now that you need this rock. Is going to do something cool with it. And it's worth it. [00:00:26] [Jane] I’m Jane Lindholm and this is But Why? A Podcast for Curious Lids from Vermont Public Radio. Every episode we take a question from you, our listeners, and we help find cool people to offer an answer for what's on your mind. [00:00:42] You can find all the instructions at butwhykids.org for how to record a question with an adult's help on a smartphone. We are getting some really incredible questions so keep them coming. Before we get started today, we're excited to announce a new sponsor. This episode of But Why? is supported by Seventh Generation asking “But why?”[00:01:03] for over 27 years. Why don't cleaning products have to list their ingredients on the label? Why are so many laundry detergents such crazy colors? Seventh Generation encourages kids of all ages to keep asking why. Learn more at seventhgeneration.com. OK, let's get to the show and hear today's questions. [00:01:27] [Addison] My name is Addison Bee. I am five years old and I live in Edmonds, Washington and I want to know about how we make paints. [00:01:39] [Jane] There are a lot of different ways that paint is made. If you're painting your house, you're probably using industrial paint that was made in a very big factory.
[Show full text]
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.
[Show full text]
Excerpted from Bernard Berenson and the Picture Trade
1 Bernard Berenson at Harvard College* Rachel Cohen When Bernard Berenson began his university studies, he was eighteen years old, and his family had been in the United States for eight years. The Berensons, who had been the Valvrojenskis when they left the village of Butrimonys in Lithuania, had settled in the West End of Boston. They lived near the North Station rail yard and the North End, which would soon see a great influx of Eastern European Jews. But the Berensons were among the early arrivals, their struggles were solitary, and they had not exactly prospered. Albert Berenson (fig. CC.I.1), the father of the family, worked as a tin peddler, and though he had tried for a while to run a small shop out of their house, that had failed, and by the time Berenson began college, his father had gone back to the long trudging rounds with his copper and tin pots. Berenson did his first college year at Boston University, but, an avid reader and already a lover of art and culture, he hoped for a wider field. It seems that he met Edward Warren (fig. CC.I.16), with whom he shared an interest in classical antiquities, and that Warren generously offered to pay the fees that had otherwise prevented Berenson from attempting to transfer to Harvard. To go to Harvard would, in later decades, be an ambition of many of the Jews of Boston, both the wealthier German and Central European Jews who were the first to come, and the poorer Jews, like the Berensons, who left the Pale of Settlement in the period of economic crisis and pogroms.1 But Berenson came before this; he was among a very small group of Jewish students, and one of the first of the Russian Jews, to go to Harvard.
[Show full text]
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.
[Show full text]
Stained Glass Conservation at the Isabella Stewart Gardner Museum
Article: Stained glass conservation at the Isabella Stewart Gardner Museum: Putting the pieces together Author(s): Valentine Talland and Barbara Mangum Source: Objects Specialty Group Postprints, Volume Four, 1996 Pages: 86-98 Compilers: Virginia Greene and John Griswold th © 1996 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Four, 1996 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. STAINED GLASS CONSERVATION AT THE ISABELLA STEWART GARDNER MUSEUM: PUTTING THE PIECES TOGETHER Valentine Talland and Barbara Mangum Introduction In the Spring of 1994 the Gardner Museum began the conservation of nine medieval and Renaissance stained glass windows in its permanent collection.
[Show full text]
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.
[Show full text]
1\F~W England
,,....,l~arlv """' '-,·. ' of 1\f~w England By \Vh1throp Sargent 1922 "So by his tomb I stood~ beside its base, GI andng upon me with a scornful air, 'Who were thine Ancestors?' he coldly asked, Willin~ t0 answer, l did nGt forbear My r,mue or lineage, but the whole u.nrr1&sked." Dente's lnfcrno, Canto X. Early Sargents of New England Early Sargents of New England T,vo of the most distinguished members of the family, Professor Charles Sprague Sargent J ohr1 Si~ger Sargent-R. A. From a photograph made by Miss Louisa Putman Loring Prides Crossing, A1ass. August, 1921. Early Sargents of New England l JONATHAN SERGEANT OF Cor,..~~cr1cuT 1644 2 WILLIAM SARGENT OF IPS\VICH 1633 3 \VILLIAM SARGENT OF MALDEN 1638 4 \VILLIAM SARGENT, SENIOR, OF GLOUCESTER 1649 5 WILLIA.\.I SARGENT, 2ND, OF GLOUCESTER Before 1678 6 PETER SERGEA!\11 OF BosToN 1667 7 STEPHEN SARGENT OF MAINE 1649 8 DIGORY SARGENT OF BOSTON 1675 E a r l y S a r g e n l s of 1\T e u, E 11 g l a n d Bet,\·cen 163 3 and 16781 there carne to Ne\v England ten or eleven men by the narne of Sargent. The nan1e ,vas spelt in a nun1ber of ,vays-S2rjant, Sargeant, Sergeant and Sargent, for the first generation or t\vo. The rnost prominent of this n2n1c ,vc n1akc reference to in the f01!0\ving notes: Early Sargents of New England Jonatha11 Sergeant of Connecticut 1644 ONATHAl"1 SERGEANT, in 1644, ··took the Oath.
[Show full text]
Botticelli: Heroines + Heroes on View: February 14, 2019 – May 19, 2019
FOR IMMEDIATE RELEASE Botticelli: Heroines + Heroes On View: February 14, 2019 – May 19, 2019 Sandro Botticelli (Italian, 1444 or 1445-1510), The Tragedy of Lucretia, 1499-1500. Tempera and oil on panel, 83.8 x 176.8 cm (33 x 69 5/8 in.) Isabella Stewart Gardner Museum, Boston (P16e20) BOSTON, MA (October 2018) – For the forthcoming Botticelli: Heroines + Heroes exhibition in early 2019, the Isabella Stewart Gardner Museum will be the sole venue in the United States to reunite Renaissance master Sandro Botticelli’s The Story of Lucretia from the Gardner Museum collection with the painter’s Story of Virginia, on loan from Italy for the first time. This presentation explores Botticelli’s revolutionary narrative paintings and brings them into dialogue with contemporary responses. The exhibition opens Feb. 14, 2019 and runs through May 19, 2019. Painted around 1500, eight monumental works – including important loans from museums in Europe and the U.S. - demonstrate Botticelli’s extraordinary talent as a master storyteller. He reinvented ancient Roman and early Christian heroines and heroes as role models, transforming their stories of lust, betrayal, and violence into parables for a new era of political and religious turmoil. Considered one of the most renowned artists of the Renaissance, Botticelli (about 1445-1510) was sought after by popes, princes, and prelates for paintings to decorate Italian churches. His Medici-era madonnas elevated Botticelli to a household name in Gilded Age Boston. Yet the painter achieved iconic status through his secular paintings for domestic interiors – like the Primavera. All of the works in the Gardner’s exhibition originally filled the palaces of Florence, adorning patrician bedrooms with sophisticated modern spins on ancient tales.
[Show full text]
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.
[Show full text]
Office of Performance Management & Oversight
OFFICE OF PERFORMANCE MANAGEMENT & OVERSIGHT FISCAL 2014 ANNUAL REPORT GUIDANCE The Office of Performance Management & Oversight (OPMO) measures the performance of all public and quasi‐public entities engaged in economic development. All agencies are required to submit an Annual Report demonstrating progress against plan and include additional information as outlined in Chapter 240 of the Acts of 2010. The annual reports of each agency will be published on the Office of Performance Management website, and will be electronically submitted to the clerks of the Senate and House of Representatives, the Chairs of the House and Senate Committees on Ways and Means and the House and Senate Chairs of the Joint Committee on Economic Development and Emerging Technologies. Filing Instructions: The Fiscal Year 2014 report is due no later than Friday, October 3, 2014. An electronic copy of the report and attachments A & B should be e‐mailed to [email protected] 1) AGENCY INFORMATION Agency Name Massachusetts Cultural Council Agency Head Anita Walker Title Executive Director Website www.massculturalcouncil.org Address 10 St. James Avenue, Boston, MA 02116 2) MISSION STATEMENT Please include the Mission Statement for your organization below. Building Creative Communities. Inspiring Creative Minds. OUR MISSION The Massachusetts Cultural Council (MCC) is a state agency that promotes excellence, access, education, and diversity in the arts, humanities, and interpretive sciences to improve the quality of life for all Massachusetts residents and contribute to the economic vitality of our communities. The Council pursues this mission through a combination of grant programs, partnerships, and services for nonprofit cultural organizations, schools, communities, and artists.
[Show full text]
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.
[Show full text]