Displaying items by tag: John Singer Sargent

Whether it achieved its goal of preserving the legacy of the Corcoran Gallery is debatable, but the landmark agreement that broke apart Washington’s oldest private museum has been an absolute bonanza for the National Gallery of Art.

After its board of trustees approves the next round of acquisitions on Oct. 1, the National Gallery of Art will have accessioned about 40 percent of the Corcoran’s collection, including priceless pieces by Edgar Degas, Frederic Edwin Church, John Singer Sargent and Carrie Mae Weems.

In the spring of 1925, the famed painter John Singer Sargent was preparing to travel from London to Boston. His plan? To oversee the final installation of murals he’d created for the Museum of Fine Arts — mythic works that would join similar paintings at the Boston Public Library and Harvard’s Widener Library, cementing the artist’s relationship with the city he loved.

But Sargent never made the trip: He died in his sleep before embarking on the voyage.

In years to come, the general public will be able to say "Hello, gorgeous!" to a rarely seen John Singer Sargent portrait that has remained out of the public eye for much of its existence.

Barbra Streisand will be donating a Sargent painting from her private collection to the Los Angeles County Museum of Art in recognition of the organization's 50th anniversary. "Mrs. Cazalet and Her Children Edward and Victor" is a triple portrait painting that depicts members of an aristocratic British family. It dates from 1900 to 1901.

It is rare for private collections of American paintings, drawings, and watercolors to span the entire nineteenth century—from America’s artistic development in the Federal period to the aesthetic movement of the late nineteenth century. It’s rarer still when the collection is coupled with American sculpture spanning the same period, particularly considering that there were few American sculptors of note for much of the first half of the century. The art within this East Coast private collection encompass paintings by Trumbull and Stuart to Chase and Sargent and sculpture from Houdon to Saint-Gaudens.

Most American sculpture of the early nineteenth century consists of portraits that celebrate the founding fathers of the nation. As such they complement paintings of the period which, while also recording the likenesses of the early patriots, include historical events, often battles...

To continue reading this article about nineteenth-century sculpture, visit InCollect.com.

Nineteen major paintings lent from the private collection of Thelma and Melvin Lenkin of Chevy Chase, Md., are on view at the Smithsonian American Art Museum through Aug. 16. Mary Cassatt’s renowned “Reading ‘Le Figaro’” is joined by major oil paintings by George Bellows, Martin Johnson Heade, John Singer Sargent, John Sloan, William Glackens, John La Farge, Everett Shinn and others. These artworks have been installed on the second-floor galleries of the museum within the chronological flow of the museum’s permanent collection to create a narrative around the excitement of the late 19th and early 20th centuries in America, a “coming-of-age” period in American art. Many of the works are on public view for the first time.

John Singer Sargent (1856–1925) was one of the leading painters of his generation. His captivating portraits are universally admired for their insight into character, radiance of light and color, and painterly fluency and immediacy. "Sargent: Portraits of Artists and Friends," written by Richard Ormond, one of the foremost authorities on the artist, showcases Sargent’s cosmopolitan career in a new light—through his bold portraits of artists, writers, actors, and musicians, many of them his close friends—giving us a picture of the artist as an intellectual and connoisseur of the music, art, and literature of his day. Whether depicted in well-appointed interiors or en plein air, the cast of characters includes many famous subjects, among them Claude Monet, Auguste Rodin, Gabriel Fauré, W. B. Yeats, Robert Louis Stevenson, and Henry James. Because many of the sitters were his close friends, the artist was able to take a more informal, intimate approach to these portraits than in his formal commissions—and not only are the works penetrating studies of character, they are also records of friendships, allegiances, and influences.

One of the Taft Museum of Art's most distinctive paintings is on loan to an exhibition featuring John Singer Sargent that will travel to London, England, and New York. In exchange, Cincinnati art lovers will be able to view an intimate painting by Mary Cassatt, on loan from New York's Metropolitan Museum of Art.

The Taft Museum's painting, "Robert Louis Stevenson" by John Singer Sargent, is being loaned to the exhibition "Sargent: Portraits of Artists and Friends." The show will be on view at the National Portrait Gallery in London from Feb. 12 to May 25. After that, it will travel to the Metropolitan Museum of Art in New York, where it can be viewed from June 30 to Oct. 4.

She looks off to the right, staring out into the middle distance, her mouth shut tight, her dainty nose directed ever so slightly downward. Her right hand rests upon a bare wooden table, while her left hand, decorated with a wedding ring, clutches a folded fan. Her hair is twisted up, away from her shoulders – which are bare save for two straps, somewhat unconvincingly holding up her cinched, classical black gown. On her head is a little diamond tiara, but other than that and the ring she wears no jewelry. Between her long neck and the plunging, heart-shaped neckline of her dress lie acres of flesh, as cold and pale as ice milk.

John Singer Sargent’s portrait of the so-called ‘Madame X’, painted in 1884 and now in the collection of the Metropolitan Museum of Art in New York, has attracted and repelled generations of gallery-goers.

Houghton Hall, a lavish English country house built by Great Britain’s first Prime Minister, Sir Robert Walpole, announced that the American artist James Turrell will create a site-specific installation for the institution in June 2015. The Palladian estate, which is now home to David Cholmondeley, 7th Marquess of Cholmondeley, and his wife, Rose, boasts a sculpture park, spectacular interiors, exquisite furniture, rarely exhibited paintings by artists such as Thomas Gainsborough, Artemisia Gentileschi, and John Singer Sargent, and celebrated collections of silver, marble, and Sèvres porcelain.

In recent years, Lord Cholmondeley has commissioned a number of contemporary outdoor sculptures for Houghton Hall, including works by Turrell, Richard Long, Stephen Cox, Zhan Wang, Amy Gallaccio, and Jeppe Hein.

Among the lesser-known idiosyncrasies of the Frick Collection is that it has never had a painting by John Singer Sargent, the in-demand Gilded Age portraitist. But Sargent’s “Lady Agnew of Lochnaw,” a supremely stylish dark-haired beauty afloat in a voluminous white satin and chiffon tea gown, looks so at home at the Frick that visitors may mistake her for a resident.

As it did last year with masterworks from the Mauritshuis, the Frick has welcomed 10 paintings from the Scottish National Gallery, in Edinburgh, home to a renowned collection of fine art from the Renaissance to the end of the 19th century. The new show, “Masterpieces From the Scottish National Gallery,” running through Feb. 1, is a quieter sort of exhibition, exemplified by the under-the-radar entrance of “Lady Agnew."