Sargent: Portraits of Artists and Friends, by Richard Ormond, Elaine Kilmurray
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Sargent: Portraits of Artists and Friends, by Richard Ormond, Elaine Kilmurray
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WINNER of the W. E. Fischelis Award from the Victorian Society in America.Accompanying a major exhibition, this is the first book devoted to the career of this renowned American painter through his brilliant portraits. John Singer Sargent (1856–1925) was one of the leading painters of his generation, whose captivating portraits are universally admired for their insight into character, radiance of light and color, and painterly fluency and immediacy. This unprecedented book 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, Vaslav Nijinsky, W. B. Yeats, Robert Louis Stevenson, and Henry James. Structured thematically and according to the places Sargent worked and lived—Paris, London, New York, Italy, and the Alps—this book unites informative essays by noted scholars with a wealth of imagery to offer fresh insights into Sargent’s life and work.
Sargent: Portraits of Artists and Friends, by Richard Ormond, Elaine Kilmurray- Amazon Sales Rank: #81558 in Books
- Published on: 2015-03-10
- Released on: 2015-03-10
- Original language: English
- Number of items: 1
- Dimensions: 12.25" h x 1.08" w x 10.00" l, .0 pounds
- Binding: Hardcover
- 256 pages
Review "Sargent: Portraits of Artists and Friends unites informative essays by noted scholars with a wealth of imagery to offer fresh insights into Sargent’s life and work. The book also includes drawings, early works, a richly illustrated chronology, and new research, making it one of the most comprehensive volumes on this renowned American painter." -Artdaily.org"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. . . . Accompanying [major exhibitions at the National Portrait Gallery and The Metropolitan Museum of Art], this is the first book devoted to the entire career of this renowned American painter through these brilliant portraits." -ArtFixdaily.com"Think Gilded Age, that glittering era of sophistication and new money at the end of the 19th century. John Singer Sargent painted and lived it. He cultivated commissions from its rich, and became famous for his luscious, flattering, society portraits, which is exactly what critics often held against him. And over time, the go-to portrait painter of his day lost interest in the grand paintings that made his name, preferring people in informal settings, and watercolors regarded as some of the finest ever painted. . . 90 years after his death, in 1925, it is those extraordinary, telling portraits that are treasured all over the world."-CBS NEWS
About the Author Richard Ormond is Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C., and coauthor, with Elaine Kilmurray, of the Sargent catalogue raisonné. Trevor Fairbrother is an independent art curator. Barbara Dayer Gallati is curator emerita, American Art, Brooklyn Museum. Erica Hirshler is Croll Senior Curator of American Paintings at the Museum of Fine Arts, Boston. Marc Simpson is an independent art historian and curator. H. Barbara Weinberg is the former curator of American paintings and sculpture at the Metropolitan Museum of Art, New York.
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Most helpful customer reviews
54 of 54 people found the following review helpful. Laughably terrible image reproductions By Jon This is the first review I have ever written on this site. People are being way to kind about this book. The reproductions are TERRIBLE. I live in NYC, and the show is going on right now at the Metropolitan museum of art. All of the paintings from this book are in the show. The show is so amazing, that i went one day, and woke up the next morning and went back. I will probably go again in a couple of days. At the show they have all of these astonishing paintings hanging, the most Sargent paintings I have seen in one area. Being a crazed Sargent fan, I almost wept. They have this table at the show with 4 of these books there so you can flip through them and read the text associated with the images. I was disgusted! I didn't see a single painting in the book that was well reproduced, or even acceptable. The color management was terrible, they made no effort against glare, the value levels were way off, some of the pictures were remarkably undersaturated or over saturated. For example, Sargen'ts portrait of Edwin Booth looks like they took a picture of it, then put it in photoshop and dropped a yellow/red saturation filter over it. The painting "a gust of wind" which is one of the most beautiful paintings i have ever seen face to face is printed in this book maybe a couple shades darker on the value scale, and its printed REVERSE horizontal. How the hell does that even happen? It's disrespectful. Sargent would have been outraged. I don't think painters collect images for books like this. I almost laughed out loud sitting there in the show surrounded by all of the real paintings flipping through this book. I was taking better photo reproductions with my iPhone 5S. I wish i was kidding. I wish I was just saying that for dramatic effect. If you saw the show, then you know what I am talking about. Don't act like this is okay. I would have bought this book instantly without even looking at a review had i not seen the show first, because i am such a big Sargent fan. But having seen the show, nothing will get me to buy this book. Ill just flip through my iPhone instead. To show you what I'm talking about I included my photo of "Edwin Booth" that i took with my iPhone with no edits or color corrections, as well as an image of the laughably terrible book reproduction of the same painting.Cheers,
12 of 12 people found the following review helpful. It is a wonderful publication which makes a great companion to the show By Kiku Saw the exhibition in London three times in four days. So many works from so many American, British and private collections that will hardly if ever come together again. Regarding the book. It is a wonderful publication which makes a great companion to the show. My only complaint is that some of the pictures in the book do not do justice to the original works. The authors, publishers and anyone who have anything to do with these Singer Sargent publications need to see and make sure that the printers' proofs are as close to the original painitngs as possible. For instance, the Pailleron children, the carpet behind the girl's legs is a mass of darks in the book. In the original painting, there is detail and is much lighter than the one in the book. Ada Rehan's picture in the book is a bit dull compared to the original painting, where the whitness of the dress leaps off the canvas. Again it is a very good book, but i need to stress to the authors that it is not a case of just putting together the pictures to accompany the text. Care needs to be taken when it comes to reproducing paintings, particularly in the catalog raisonne. I can mention another book where for instance "Bridge of sighs, Venice" was printed facing the other way. Someone needs to make sure that the pictures match the original works before going to print. Other than that, get the book if you're a Singer Sargent fan.
14 of 15 people found the following review helpful. A true cosmopolitan & a consummate artist with a flair for friendship By Patto John Singer Sargent, an American born and nurtured in Europe, moved from country to country in a shifting cocoon of friends and family. We follow in his footsteps through these wonderful portraits.His sitters are diplomats, poets, novelists, painters, Spanish and Javanese dancers, theater people, his painting teacher, his sister – people with whom he traveled, visited, corresponded, and made music (he was an accomplished pianist), artists and musicians whose talents he generously promoted.Sargent was particularly gifted at capturing the outer form and inner spark of creative personalities. Some of his sitters are famous, like Henry James and Monet. Others are lesser known today, but it's intriguing to read about their lives and accomplishments and their personal quirks. This book gives us a picture of the highly artistic circles Sargent lived in and his own remarkably cultured character.The text is lively and extremely well written. There are ninety-two catalogued paintings, and the color reproductions are large and lavish. Sargent's luminous style and vibrant brush strokes reproduce beautifully.The individual write-ups about the paintings reveal a lot about the experience of sitting for Sargent. There are fun episodes amusingly recounted. Like the time a hostile poodle kept biting Sargent while he painted the dog's elegant master. Or the time Sargent painted a singer and made him stand on a platform and sing Wagner straight through every sitting. (Sargent was passionately fond of Wagner).The text also analyzes Sargent's methods. We learn which paintings were meticulously planned and which were more spontaneous. We read about the artistic intention behind Sargent's often eccentric placement of figures. The text also informs us about Sargent's artistic influences – the Old Masters he revered and studied, the contemporaries he admired.Intellectual to the end, Sargent died with a volume of Voltaire by his side. The text is rich in fascinating biographical details like this.This book is ideal preparation for the exhibit coming in June 2015 to the Met, which I can't wait to see. But even independent of the exhibit, the book is an absorbing read and a visual delight. It shows us a more personal side of the artist, not just the brilliant society portraitist but the artist in a more experimental mood. Sargent was never so exuberant and free as when painting his friends and fellow artists.
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