Cover image for Sargent : the late landscapes
Sargent : the late landscapes
Goldfarb, Hilliard T.
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Publication Information:
Boston, Mass. : Isabella Stewart Gardner Museum ; Hanover [N.H.] : Distributed by University Press of New England, [1999]

Physical Description:
ix, 114 pages : illustrations (some color) ; 31 cm
General Note:
Exhibition itinerary: Isabella Stewart Gardner Museum, Boston, May 21-September 26, 1999.
Reconstructing nature: the rise and fall and rise of the American sublime, 1820-1920 / T.J. Jackson Lears -- "Huge skies do not tempt me": John Singer Sargent and landscape painting / Erica E. Hirshler -- Sargent in pursuit of landscapes in his own words: "I am off again to try the simple life (ach pfui)..." / Hilliard T. Goldfarb.
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N6537.S32 A4 1999 Adult Non-Fiction Central Closed Stacks-Oversize

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While John Singer Sargent (1856-1925) is most known for his salon portraits, his late landscape paintings -- notably those completed from 1905 to 1917 -- mark an important departure for him. in them he explored stylistic avenues suggested by the late impressionists while reflecting a contemporaneous Victorian interest in unspoiled nature.T. J. Jackson Lears places the late landscapes in the context of the time, travel, attention, and exploratory interest Sargent lavished upon them, examining them against the larger background of America's reconsideration of nature's place in the humanities. Sargent's "modernist" tendency as an experimental painter later in his career is the focus of Erica Hirshler's essay. Hilliard T. Goldfarb writes about Sargent's candid, sometimes amusing, often pithy, and practical observations on travel and work, using archival material at the Gardner Museum as well as Sargent's letters and recorded recollections by his circle of friends.

Author Notes

She is John Moors Cabot curator of American painting at the Museum of Fine Arts, Boston. She is the author of Dennis Miller Bunker & a contributor to The Bostonians.

(Bowker Author Biography)

Reviews 1

Choice Review

The current Sargent boom is finally yielding the kind of specialized studies that this accomplished artist deserves. Most work on Sargent naturally focuses on the stunning oil portraits that made his reputation, but as this work under review reminds us, nature exerted an important influence over this painter. This is the catalog of a recent exhibition at Boston's Isabella Stewart Gardner Museum and is grouped around three essays, all thoroughly documented. Lears (history, Rutgers Univ.) presents a stimulating overview of Americans' preoccupation with nature between 1820 and 1920 that, however, makes only a tenuous connection to Sargent. Hirshler (Museum of Fine Arts, Boston) speaks more to the artist and his landscapes by exploring his connection to Impressionism, his friendship with Claude Monet, and his travels to the Alps and the Rockies. Goldfarb (Montreal Museum of Fine Arts) uses Sargent's correspondence to reveal how important landscape was to the painter at the end of his career. There are 14 large color plates and numerous black-and-white illustrations. No bibliography or index. An attractive and useful supplement to Richard Ormond and Elaine Kilmurray's recent John Singer Sargent (CH, Nov'98). General readers; undergraduates through faculty. W. S. Rodner; Tidewater Community College