John Singer Sargent

  • john singer sargent
    john singer sargent 1903.jpg
    sargent photographed by james e. purdy in 1903
    born(1856-01-12)january 12, 1856
    florence, grand duchy of tuscany
    diedapril 14, 1925(1925-04-14) (aged 69)
    london, uk
    resting placebrookwood cemetery
    51°17′52″n 0°37′29″w / 51°17′52″n 0°37′29″w / 51.297651; -0.624693
    nationalityamerican
    educationÉcole nationale supérieure des beaux-arts
    known forpainting
    notable work
    portrait of madame x
    el jaleo
    the daughters of edward darley boit
    carnation, lily, lily, rose
    lady agnew of lochnaw
    movementimpressionism

    john singer sargent (t/; january 12, 1856 – april 14, 1925)[1] was an american expatriate artist, considered the "leading portrait painter of his generation" for his evocations of edwardian-era luxury.[2][3] 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.

    he was born in florence to american parents, and trained in paris before moving to london, living most of his life in europe. he enjoyed international acclaim as a portrait painter. an early submission to the paris salon in the 1880s, his portrait of madame x, was intended to consolidate his position as a society painter in paris, but instead resulted in scandal. during the next year following the scandal, sargent departed for england where he continued a successful career as a portrait artist.

    from the beginning, sargent's work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with impressionism. in later life sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. art historians generally ignored "society" artists such as sargent until the late 20th century.[4]

  • early life
  • training
  • early career
  • works
  • relationships and personal life
  • critical assessment
  • later life
  • sales
  • in popular culture
  • references
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John Singer Sargent
John Singer Sargent 1903.jpg
Sargent photographed by James E. Purdy in 1903
Born(1856-01-12)January 12, 1856
DiedApril 14, 1925(1925-04-14) (aged 69)
London, UK
Resting placeBrookwood Cemetery
51°17′52″N 0°37′29″W / 51°17′52″N 0°37′29″W / 51.297651; -0.624693
NationalityAmerican
EducationÉcole nationale supérieure des Beaux-Arts
Known forPainting
Notable work
Portrait of Madame X
El Jaleo
The Daughters of Edward Darley Boit
Carnation, Lily, Lily, Rose
Lady Agnew of Lochnaw
MovementImpressionism

John Singer Sargent (t/; January 12, 1856 – April 14, 1925)[1] was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury.[2][3] 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.

He was born in Florence to American parents, and trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter. An early submission to the Paris Salon in the 1880s, his Portrait of Madame X, was intended to consolidate his position as a society painter in Paris, but instead resulted in scandal. During the next year following the scandal, Sargent departed for England where he continued a successful career as a portrait artist.

From the beginning, Sargent's work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Art historians generally ignored "society" artists such as Sargent until the late 20th century.[4]

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