John Singer Sargent
John Singer Sargent Locations
John Singer Sargent (January 12, 1856 ?C April 14, 1925) was the most successful portrait painter of his era. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.
Before Sargent??s birth, his father FitzWilliam was an eye surgeon at the Wills Hospital in Philadelphia. After his older sister died at the age of two, his mother Mary (n??e Singer) suffered a mental collapse and the couple decided to go abroad to recover. They remained nomadic ex-patriates for the rest of their lives. Though based in Paris, Sargent??s parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While she was pregnant, they stopped in Florence, Italy because of a cholera epidemic, and there Sargent was born in 1856. A year later, his sister Mary was born. After her birth FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife??s entreaties to remain abroad. They lived modestly on a small inheritance and savings, living an isolated life with their children and generally avoiding society and other Americans except for friends in the art world. Four more children were born abroad of whom two lived past childhood.
Though his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home, ??He is quite a close observer of animated nature.?? Contrary to his father, his mother was quite convinced that traveling around Europe, visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to give him formal schooling failed, owning mostly to their itinerant life. She was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Young Sargent worked with care on his drawings, and he enthusiastically copied images from the Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son??s interest in ships and the sea might lead him toward a naval career.
At thirteen, his mother reported that John ??sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist.?? At age thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Though his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in French, Italian, and German. At seventeen, Sargent was described as ??willful, curious, determined and strong?? (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, ??I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michael Angelo and Titian.?? Related Paintings of John Singer Sargent :. | James Kitson | Gladys Deacon | The Hermit | Portrait of Frederick Law Olmsted | Paul Helleu Sketching with his Wife (nn03) |
Related Artists:Jean-Baptiste Corot
was a French landscape painter and printmaker in etching. Corot was the leading painter of the Barbizon school of France in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. Camille Corot was born in Paris in 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people his father was a wigmaker and his mother a milliner and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money, as his parents made good investments and ran their businesses well. After his parents married, they bought the millinery shop where she had worked and he gave up his career as a wigmaker to run the business side of the shop. The store was a famous destination for fashionable Parisians and earned the family an excellent income. Corot was the middle of three children born to the family, who lived above their shop during those years. Corot received a scholarship to study in Rouen, but left after having scholastic difficulties and entered a boarding school. He was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, before 1815 Corot showed no such interest. During those years he lived with the Sennegon family, whose patriarch was a friend of Corot's father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature. At nineteen, Corot was a big child, shy and awkward. He blushed when spoken to. Before the beautiful ladies who frequented his mother's salon, he was embarrassed and fled like a wild thing Emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corot's parents moved into a new residence in 1817, the twenty-one year old Corot moved into the dormer-windowed room on the third floor, which became his first studio as well. With his father's help he apprenticed to a draper, but he hated commercial life and despised what he called "business tricks", yet he faithfully remained in the trade until he was 26, when his father consented to his adopting the profession of art. Later Corot stated, I told my father that business and I were simply incompatible, and that I was getting a divorce. The business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and began immediately with landscapesBASAITI, Marco
Italian Painter, ca.1470-1530
Marco Basaiti (c. 1470 ?C 1530) was a Venetian painter and a rival of Giovanni Bellini. His best known works are Christ Praying in the Garden (1516) and the Calling of St. Peter and St. Andrew.
Christ praying in the GardenThought to have originated in the Balkans, his date of birth and arrival in Venice are not known, but he began to paint actively around 1496. He is generally believed to have learned to paint in the workshops of Alvise Vivarini. Basaiti worked primarily with religious themes, but he also did portraits. Contrary to the trends of the time, he used very bright colours in rendering his religious subjects.James Augustus Suydam
(1819-1865) architect, lawyer, and artist; as an artist was considered one of the premier Luminism painters. He is widely known as an American landscape painter and one of the leading members of the Hudson River School.
James Augustus Suydam was descended from an old New York Dutch merchant family. He graduated from New York University (then the University of the City of New York), and began his career as a businessman but turned a significant portion of his energies to painting, studying under famed artist and portrait painter Minor C. Kellogg. At the age of thirty he was elected to the Century Association.
One of the "regulars" who gathered to paint at North Conway, New Hampshire, he exhibited Conway Meadows at the New York Athenaeum and Boston Athenaeum. He opened his studio at the noted 10th Street Studio Building, New York City, in 1858. The following year he was elected an honorary professional member in the prestigious National Academy of Design, which granted him full membership in 1861. He died suddenly in North Conway at the age of 46.
James Suydam was described by his friend, the accomplished artist Sanford Robinson Gifford as a "thoroughly educated and accomplished man. " In addition to his work as an artist, which he began only after working in law and architecture, he was widely read and well-versed in history, philosophy, and the sciences. His work as a landscape painter reflects this breadth of knowledge and reveals Suydam as a deeply spiritual individual. Using his familiarity with science, Suydam reduced nature to calm, clean, planar forms, and then distorted proportional relations so that God's creations loomed superior over the work of man.
The National Academy has most of his works such as Paradise Rocks (1865), and the Taft family's Taft Museum also holds works. The Taft also has a podcast website for this artist.
A painting of Gifford's from 1859 which Suydam, according to a report, "donated to the [National] academy in 1865," became the subject of a deaccession controversy at the Academy in late 2008.