| Author: | Arron Adams | ISBN: | 9786050421675 |
| Publisher: | Arron Adams | Publication: | April 17, 2016 |
| Imprint: | Language: | English |
| Author: | Arron Adams |
| ISBN: | 9786050421675 |
| Publisher: | Arron Adams |
| Publication: | April 17, 2016 |
| Imprint: | |
| Language: | English |
John Singer Sargent was an American leading portrait painter of Edwardian era luxury. During his career, he created about 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. In 1907, at the age of fifty-one, Sargent officially closed his studio and focused on landscapes in his later years. After 1917, most critics began to consign him to the masters of the past, "a brilliant ambassador between his patrons and posterity." Modernists treated him more harshly, considering him completely out of touch with the reality of American life and with emerging artistic trends including Cubism and Futurism. Sargent quietly accepted the criticism, but refused to alter his negative opinions of modern art. He retorted, "Ingres, Raphael and El Greco, these are now my admiration, these are what I like."
John Singer Sargent was an American leading portrait painter of Edwardian era luxury. During his career, he created about 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. In 1907, at the age of fifty-one, Sargent officially closed his studio and focused on landscapes in his later years. After 1917, most critics began to consign him to the masters of the past, "a brilliant ambassador between his patrons and posterity." Modernists treated him more harshly, considering him completely out of touch with the reality of American life and with emerging artistic trends including Cubism and Futurism. Sargent quietly accepted the criticism, but refused to alter his negative opinions of modern art. He retorted, "Ingres, Raphael and El Greco, these are now my admiration, these are what I like."
