John Singer SargentSpojené státy americké, 1856–1925Thistles
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Wind stirs the plants in John Singer Sargent's Thistles, painted in 1883–1889 and now in the Art Institute of Chicago, Chicago. He made it in rural England or possibly Nice, using broken strokes and strong colour to describe tangled stems in light and shade. The pattern approaches abstraction, stressing the flat surface more than depth. From 1885, friendship with Claude Monet encouraged more outdoor painting and contact with Impressionist methods. Working outside continued to offer Sargent relief from his demanding portrait commissions.
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Thistles captures the tangled movement of the windblown plants in light and shadow. Executing this work in rural England (or possibly in Nice, France), John Singer Sargent experimented with broken brushwork and a vibrant palette. The landscape composition is remarkably abstract, with the dynamic patterning of the thistles asserting the flatness of the picture plane more than any sense of depth.
Beginning in 1885, the artist spent more time painting out of doors, exploring the techniques and subjects of Impressionism, inspired by a growing friendship with Claude Monet. Sargent continued painting en plein air throughout his life, a practice that provided needed respite from his busy schedule as an acclaimed portraitist.
Institut umění v ChicaguCC BY 4.0
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- 1996.446
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- Institut umění v Chicagu
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V životě: John Singer Sargent
Celý životopisearly 1880s
Full-length portraits of women at the Salon, year after year
Upon his return to Paris Sargent quickly receives several portrait commissions and his career is launched: in the early 1880s he regularly exhibits portraits at the Salon, mostly full-length portrayals of women such as “Madame Edouard Pailleron” (1880, done en plein air) and “Madame Ramón Subercaseaux” (1881), continuing to receive positive critical notice.
1884
“Madame X” at the Salon: a scandal
Sargent himself pursued Virginie Gautreau for the opportunity to paint her and worked on the portrait for well over a year; unveiled at the 1884 Salon it arouses such a negative reaction that it likely prompts his move to London, and repainting the dress strap does not undo the damage: French commissions dry up.
1885
A visit to Monet at Giverny
On a visit to Claude Monet at Giverny in 1885 Sargent paints one of his most Impressionistic portraits, “Claude Monet Painting at the Edge of a Wood”, with Monet's new bride nearby; after that visit he begins to paint outdoors in the plein-air manner and buys four Monet works for his own collection.
1886
Moving to London, to artistic Chelsea
The portrait commissions that follow his Royal Academy showings encourage Sargent to complete his move to London in 1886, where he settles in the artistic community of Chelsea. English critics are not warm at first, faulting his “Frenchified” handling of paint, but with the help of Mrs. White, and with Henry James's push, he soon gains the admiration of English patrons and critics.
1887
“Carnation, Lily, Lily, Rose”: a triumph, bought by the Tate
Sargent's first major success at the Royal Academy comes in 1887 with the enthusiastic response to “Carnation, Lily, Lily, Rose”, a large piece painted on site of two young girls lighting lanterns in an English garden in Broadway in the Cotswolds; it is immediately purchased by the Tate Gallery.
1887–1888
His first solo exhibition in Boston
In Boston Sargent is honoured with his first solo exhibition, which presents 22 of his paintings; there he becomes friends with the painter Dennis Miller Bunker.
