John Singer SargentStati Uniti, 1856–1925Portrait de Gabriel Fauré (1845-1924)
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Parigi, Francia
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- Ultimo cambio di stato
- Fonte
- Il museo
Sul dipinto
Con le parole del museo — in francese
Description des éléments : Huile sur toile. Cadre en bois doré avec guirlandes à feuillages. Notes sur la description : Lieu de création : Paris ?.
Musée de la musique
Scheda
- Numero di inventario
- E.995.6.201
In catalogo
Fonti
- Musée de la musique
- Immagine: Musée de la musique — Claude Germain; Ministère de la Culture (France), base Joconde
Nella vita di John Singer Sargent
Tutta la vita1887
“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.
1887–1888
His first professional trip to New York and Boston
His first trip to New York and Boston as a professional artist produces over twenty important commissions, among them portraits of the Boston art patron Isabella Stewart Gardner and of Mrs. Adrian Iselin, wife of a New York businessman.
summer 1888
Dennis Miller Bunker comes to paint with him outdoors
In the summer of 1888 Dennis Miller Bunker travels to England to paint with Sargent en plein air; he is the subject of Sargent's 1888 painting “Dennis Miller Bunker Painting at Calcot”.
c. 1890
Elected to the Royal Academy
Sargent is elected an associate of the Royal Academy and is made a full member three years later.
1890s
Fourteen portrait commissions a year
In the 1890s Sargent averages fourteen portrait commissions per year, among them the genteel “Lady Agnew of Lochnaw” (1892) and the equally well received “Mrs. Hugh Hammersley” (1892); as a portrait painter in the grand manner he is referred to as “the Van Dyck of our times”.
