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John Singer Sargent
Portrays the life of the distinguished artist, discusses the development of his painting, and analyzes his murals, society portraits, and watercolor paintings
256 pages, Hardcover
First published January 1, 1986
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Displaying 1 - 19 of 19 reviews
May 4, 2016
I attended this past summer an exhibit at the Met Museum of John Singer Sargent's portrait work and gained there a new appreciation of the artist and his abilities. Without ever having taken the time to study his work, I had previously regarded him primarily as a society painter, technically proficient perhaps, but superficial and mannered in his approach to art. He had always seemed something of an anachronism, a holdover from the nineteenth century who was still working in the academic tradition at the same time Picasso and Matisse were revolutionizing modern art. The exhibit helped me better understand the artist's formidable technique and his uncanny knack for capturing the personality of his sitters as well as his ability to absorb the lessons taught him by Manet and other Impressionists.
John Singer Sargent by Carter Ratcliff turned out to be an excellent companion to the exhibit. Though I would have preferred a more in-depth biography of this complex artist who moved easily in high society and yet was never fully comfortable within it, the book does provide at least an outline of the artist's life and personality. Still, there are significant gaps. For example, while the book covers fairly well the training Sargent received in Paris from Carolus-Duran, it fails to pay sufficient attention to the impressions he had received in childhood while viewing the work of the old masters in Italy and the influence that these had on his later work.
The book, however, does cover all the major episodes of Sargent's life. An entire chapter is devoted, as it should be, to the scandal surrounding the 1884 Portrait of Madame X that had been the centerpiece of the Parisian section of the Met exhibit. The notoriety the portrait garnered - incomprehensible now to the twenty-first century viewer - effectively ended Sargent's career in France and forced him into virtual exile in England. There are also chapters devoted to the time Sargent spent on the Boston murals and to the paintings he completed during World War I. Although most of the latter were little more than attempts at patriotic propaganda, the painting Gassed surpassed these and became a powerful indictment of the horrors of modern warfare. The time spent at the front lines showed an entirely new side to Sargent's personality.
Ratcliff also goes to a great deal of trouble to emphasize the painter's relationship to the novelist Henry James. Though it's true both were expatriate Americans living in England, the differences between them were far more profound than the similarities no matter how good friends they may have been. One can never imagine James at home anywhere but in the gas lit parlors of British upper crust society, but Sargent was much more a maverick and often impatient with the social obligations foisted upon him by virtue of his success. At the root of his desire to give up portrait painting was the longing to escape the very milieu in which James reveled.
One of aspect of Sargent's work that is not addressed at all in this study is the influence exerted upon him by Orientalism. Though Ratcliff dutifully notes in passing the time the artist spent in the Mideast (Sargent produced a number of major paintings during his visit to North Africa in 1879 and again in Egypt in 1890), the author astonishingly offers no detailed commentary on any of these. One of Sargent's most important works in this vein, Fumée d'Ambre Gris, is reproduced only in small format and in black & white. In the same manner, Ratcliff has nothing to say about The Nude Egyptian Girl other than to offer a banal quote from a review in the Magazine of Art regarding the work's execution, this even though the image is the only oil Sargent ever painted of a female nude. Certainly the painting has as much to say about European attitudes toward the Mideast as anything produced by Gérôme. Would Sargent ever have attributed to a Western woman the overt sensuality with which he imbues his Egyptian model, or would he have been too afraid of offending staid European proprieties?
The book is profusely illustrated but too many of the paintings are reproduced in monochrome rather than color and are often in too small a size to be conveniently studied. And some major works are inexplicably left out altogether. Most notable among these omissions is the portrait of Edwin Booth, a penetrating study that captured very well the dilemma faced by this great actor who was forever haunted by his brother's crime. Instead, too much prominence is given to what really are no more than routine society portraits. Granted, though, some of these commissions, such as Lady Agnew of Lochnaw are masterpieces of the genre.
The epilogue, which deals with the circumstances surrounding the painting of the Sitwell portrait, seems anticlimactic and a non sequitur. This was not one of Sargent's most significant works and he had no special attachment to the Sitwells who were, to say the least, a rather idiosyncratic family. Though the children, particularly Edith, went on to become prominent in mid-twentieth century British literary circles, that was long after Sargent had passed on and was in no way the result of his influence.
John Singer Sargent by Carter Ratcliff turned out to be an excellent companion to the exhibit. Though I would have preferred a more in-depth biography of this complex artist who moved easily in high society and yet was never fully comfortable within it, the book does provide at least an outline of the artist's life and personality. Still, there are significant gaps. For example, while the book covers fairly well the training Sargent received in Paris from Carolus-Duran, it fails to pay sufficient attention to the impressions he had received in childhood while viewing the work of the old masters in Italy and the influence that these had on his later work.
The book, however, does cover all the major episodes of Sargent's life. An entire chapter is devoted, as it should be, to the scandal surrounding the 1884 Portrait of Madame X that had been the centerpiece of the Parisian section of the Met exhibit. The notoriety the portrait garnered - incomprehensible now to the twenty-first century viewer - effectively ended Sargent's career in France and forced him into virtual exile in England. There are also chapters devoted to the time Sargent spent on the Boston murals and to the paintings he completed during World War I. Although most of the latter were little more than attempts at patriotic propaganda, the painting Gassed surpassed these and became a powerful indictment of the horrors of modern warfare. The time spent at the front lines showed an entirely new side to Sargent's personality.
Ratcliff also goes to a great deal of trouble to emphasize the painter's relationship to the novelist Henry James. Though it's true both were expatriate Americans living in England, the differences between them were far more profound than the similarities no matter how good friends they may have been. One can never imagine James at home anywhere but in the gas lit parlors of British upper crust society, but Sargent was much more a maverick and often impatient with the social obligations foisted upon him by virtue of his success. At the root of his desire to give up portrait painting was the longing to escape the very milieu in which James reveled.
One of aspect of Sargent's work that is not addressed at all in this study is the influence exerted upon him by Orientalism. Though Ratcliff dutifully notes in passing the time the artist spent in the Mideast (Sargent produced a number of major paintings during his visit to North Africa in 1879 and again in Egypt in 1890), the author astonishingly offers no detailed commentary on any of these. One of Sargent's most important works in this vein, Fumée d'Ambre Gris, is reproduced only in small format and in black & white. In the same manner, Ratcliff has nothing to say about The Nude Egyptian Girl other than to offer a banal quote from a review in the Magazine of Art regarding the work's execution, this even though the image is the only oil Sargent ever painted of a female nude. Certainly the painting has as much to say about European attitudes toward the Mideast as anything produced by Gérôme. Would Sargent ever have attributed to a Western woman the overt sensuality with which he imbues his Egyptian model, or would he have been too afraid of offending staid European proprieties?
The book is profusely illustrated but too many of the paintings are reproduced in monochrome rather than color and are often in too small a size to be conveniently studied. And some major works are inexplicably left out altogether. Most notable among these omissions is the portrait of Edwin Booth, a penetrating study that captured very well the dilemma faced by this great actor who was forever haunted by his brother's crime. Instead, too much prominence is given to what really are no more than routine society portraits. Granted, though, some of these commissions, such as Lady Agnew of Lochnaw are masterpieces of the genre.
The epilogue, which deals with the circumstances surrounding the painting of the Sitwell portrait, seems anticlimactic and a non sequitur. This was not one of Sargent's most significant works and he had no special attachment to the Sitwells who were, to say the least, a rather idiosyncratic family. Though the children, particularly Edith, went on to become prominent in mid-twentieth century British literary circles, that was long after Sargent had passed on and was in no way the result of his influence.
August 21, 2015
An excellent book full of his masterpieces. Unfortunately, in my humble opinion, the printed page cannot really do justice to his work. I've been blessed to stand in front of many of his paintings, and these reproductions pale in comparison; however, I appreciated seeing what I haven't been able to see in person. There are 113 large color plates and 200 black and white illustrations and a lot of information about the artist. If I were a young, beautiful, rich society belle in the early 1900's, I would choose him to paint my portrait! To me he was one of the very best.
July 8, 2020
A quarantine offers a perfect time to re-visit the great masters, and Sargent is most assuredly that. Justly celebrated for his scintillating portraits - he's certainly the greatest portraitist of recent times and one of the greatest ever - I nonetheless often prefer his hauntingly beautiful landscapes, which frequently are watercolors created during his "free" time in exotic locales. Many beautiful scenes from Venice and the Middle East, but just as many others from gardens and orchards. Carter Ratcliff's book offers a wide range of beautiful reproductions - I wish there were more full-color Moroccan photos - accompanied by incisive commentary that does not shy away from criticism or controversy. Certainly an excellent volume to keep forever in one's library.
January 20, 2009
Sargent is my favourite artist. Truly gifted, a painter's painter. This beautiful book is a must for any Sargent fan.
July 5, 2023
In general, "Sargent" is a major work.
Seriously. J.S.S. has been a favorite artist of mine for some time, but my appreciation for his work has really grown in the past year. As things opened up as the pandemic wound down, I resumed my travel and I just keep running into more and more of his works in the art galleries and the stately homes that I have been visiting.
This is more than just another coffee table book of pictures.
The author Carter Ratcliff really weaves together the paintings and where the author was in his life when the work was completed. Just as Sargent had many subjects who did not like to sit as their portrait was being painted, he himself did not like being the object of much attention, nor did he leave journals or many letters to tell his story. Only the diligent research of the author "fleshes out" this gifted artist and remarkable person.
Seriously. J.S.S. has been a favorite artist of mine for some time, but my appreciation for his work has really grown in the past year. As things opened up as the pandemic wound down, I resumed my travel and I just keep running into more and more of his works in the art galleries and the stately homes that I have been visiting.
This is more than just another coffee table book of pictures.
The author Carter Ratcliff really weaves together the paintings and where the author was in his life when the work was completed. Just as Sargent had many subjects who did not like to sit as their portrait was being painted, he himself did not like being the object of much attention, nor did he leave journals or many letters to tell his story. Only the diligent research of the author "fleshes out" this gifted artist and remarkable person.
May 16, 2019
EXCELLENT book of color plates and b&2 photos of sketches.
A good source for a Sargent bibliography.
Interesting notes regarding Sargent's works, his family, and his travels.
A good source for a Sargent bibliography.
Interesting notes regarding Sargent's works, his family, and his travels.
June 21, 2018
This lobro is the best in the world has an excellent lobreto catches you from the first paragraph
This entire review has been hidden because of spoilers.
May 6, 2014
Wonderful color and black & white illustrations of Singer Sargent's oeuvre and a quick and easily readable and digestible work. An almost exhausting number of quotes on what the art critics, art purveyors, art teachers, friends and notables of his time (Henry James, Pisarro etc.) thought of his work. Author Carter Ratcliff aims to give us some idea of the artist's lifestyle,how much he traveled,his family, his prolific output, and how he is considered by some to be the last great artist whose work shows mastery of the style of the great traditional painters and of those that begin the modern era.
March 29, 2015
I love Sargent's paintings, but I felt this biography failed to make him a real person in my mind's eye. The selection of paintings was rather odd (why so much time spent on his murals?) and many were discussed in the text without an accompanying image. Black and white photos of paintings may as well be verbal descriptions, and there are far too many in this book. Many of the full color images are too dark to see the detail. All in all a damn shoddy job! I give this two stars because of its subject matter, which deserves much more care and attention than this book gives him and his work.
April 7, 2008
wonderful artist....not appreciated by many in this generation
September 2, 2008
divine!
September 14, 2009
Non-fiction. Beautiful reproductions - enjoyable, informative text. A must for all Sargent fans.
October 3, 2010
One of my favorite artists. This is an excellent book with large photos of his work. I keep going back to it.
February 9, 2013
John Singer Sargent was one of the great American painters. If you love his art, you'll love this book.
November 25, 2013
This is one of the nicest books on an artist that I own. It shows a very broad spectrum of his work and brought me to a new appreciation of his sketching and watercolor work.
April 10, 2017
One of my favorite painters of all time. This is a large format beautiful book.
Read
February 11, 2018Interesting. One of my fav artist.
Want to read
September 25, 2018Good
Displaying 1 - 19 of 19 reviews