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John Singer Sargent Watercolors
John Singer Sargents approach to watercolour was unconventional. Disregarding late-nineteenth-century aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer in England, where Sargent spent much of his adult life, called his work swagger watercolours. For Sargent, however, the watercolours were not so much about swagger as about a new way of thinking. In watercolour as opposed to oils his vision became more personal and his works more interconnected. Presenting nearly 100 works of art, this book is the first major...
Sargent's Daughters
A paperback edition of the book described by the New York Times Book Review as 'thoroughly absorbing'. Henry James minced no words in crediting John Singer Sargent with a 'knock-down insolence of talent.' Among the painter's many renowned works, few deserve the phrase as much as The Daughters of Edward Darley Boit, which stands alongside Madame X and Lady Agnew of Lochnaw as one of Sargent's greatest images. The painting, depicting four young sisters in the family apartment (first exhibited at the Paris Salon of 1883, it predated by just one year the scandal of Madame X), both explores and defies convention, crossing the boundaries between portrait and genre scene, formal composition and cas...
Boston's Apollo
In 1916, John Singer Sargent (1856-1925) met Thomas Eugene McKeller (1890-1962) a young African American elevator attendant at Boston's Hotel Vendome. McKeller became the principal model for Sargent's murals in the new wing of the Boston's Museum of Fine Arts, among the painter's most ambitious works. Sargent's nude studies and sketches from this project attest to a close collaboration between the two men that unfolded over nearly ten years. Featuring drawings given by Sargent to Isabella Stewart Gardner and published in full for the first time, a portrait of McKeller, and archival materials reconstructing his life and relationship with Sargent, this book opens new avenues into artist-model relationships and transforms our understanding of Sargent's iconic American paintings. Essays offer the first biography of Thomas McKeller and a window into African America life in early 20th century Roxbury. They address the artist's sexuality, his models, and consider questions of race and gender.
Impressionism Abroad
"The Museum of Fine Arts in Boston possesses one of the world's finest collections of nineteenth-century French and American art. This colourful book illustrates many of its highlights." "As she outlines the history of the collection, Erica Hirshler considers the taste in Boston for atmospheric landscapes which, by the late 1880s, had led young Boston painters to Monet's door. Their willingness to embrace Impressionism helped to popularise this style of painting throughout the United States." "All the high points of Boston's nineteenth-century collections are revealed here, with works by the leading French Impressionist painters and their American counterparts, such as Childe Hassam and Philip Hale."--BOOK JACKET.
Dennis Miller Bunker
Dennis Miller Bunker (1861-1890) was one of the most talented painters of late nineteenth-century America. He was among the first Americans to use the bright colors and broken brushstrokes of the new Impressionist style; his beautiful landscapes and portraits are sought after by the most distinguished collectors of American art." "Dennis Miller Bunker: American Impressionist is the first comprehensive study of this important American artist. Trained in the academies of his native New York, Bunker continued his education in Paris, where he flourished in the sophisticated atmosphere of the world's art capital. In 1885, he accepted a teaching position in Boston. He joined the city's vibrant art...
A New World Imagined
A new world imagined -- Native peoples of the Americas -- Europe and the Americas -- Africa, the New East, Asia, and the Americas.
Americans in Paris, 1860-1900
John White Alexander, Cecilia Beaux, James Carroll Beckwich, Frank Weston Benson, Nelson Norris Bickford, John Leslie Breck, Dennis Miller Bunker, Mary Stevenson Cassatt, Jefferson David Chalfant, William Merritt Chase, Charles Courtney Curran, Thomas Eakins, Mary Fairchild, Elizabeth Jane Gardner, Abbott Fuller Graves, Ellen Day Hale, Frederick Childe Hassam, Winslow Homer, Thomas Hovenden, William Morris Hunt, Anna Elizabeth Klumpke, Willard Leroy Metcalf, Hermann Dudley Murphy, Elizabeth Nourse, Charles Sprague Pearce, Maurice Brazil Prendergast, Theodore Robinson, John Singer Sargent, Julius LeBlanc Stewart, Henry Ossawa Tanner, Edmund Charles Tarbell, John Henry Twachtman, Harry van der Weyden, Frederic Porter Vinton, Robert Vonnoh, Julian Alden Weir, James Abbott McNeill Whistler.
Great Expectations
Sargent's reputation is often defined by his remarkable achievements as a painter of sophisticated society portraits. However, as this innovative examination of his career reveals, he created a significant number of childrens portraits and genre paintings featuring children. The title of the book makes ironic reference to Charles Dickens's famous novel Great Expectations, and is used here to suggest how Sargents paintings of children related to the expectations associated with representations of childhood in the art and literature of Sargents day. The book also traces how Sargent ultimately advanced childhood as an artistic subject. The book contains five essays by three notable curators and professors of fine arts, is illustrated with Sargents truly stunning and often lesser-known paintings of children, and includes Sargent family photographs, some of which are previously unpublished.
William Merritt Chase
A landmark retrospective that examines William Merritt Chase and his lasting contribution to the history of modern art The history of modern art owes a great debt to William Merritt Chase (1849-1916), one of America's influential artists and educators. Chase was a leading member of the international artistic avant-garde and was best known for his mastery of a wide range of subjects in oil and pastel, including figures, landscapes, urban park scenes, interiors, and portraits. As a teacher and founder of the Shinnecock Summer School of Art and the New York School of Art, Chase mentored a new generation of modernists, including Edward Hopper, Georgia O'Keeffe, and Joseph Stella. A century after his death, the breadth and richness of Chase's career are celebrated in this beautifully illustrated publication. Five essays by prominent scholars of American art offer new insights into Chase's multi-faceted artistic practice and his position in the international cultural climate at the turn of the 20th century.
