stephanie herdrich barbara weinberg essay (3 résultats)

Hardcover. Etat : Book fine, Dust jacket fine. 1st. 444 pages; 714 illustrations, including 109 in color; chronologies, bibliography, concordance, index. Bound in publisher's original tan cloth with the spine stamped in gilt.

Hardcover. Etat : As New. Etat de la jaquette : As New. 1st Edition. Free USPS 1-3 day Priority Mail in USA48 plus free insurance. Book Condition: As New; Dust Jacket condition: As New. 444 pages; 714 illustrations, including 109 in color; chronologies, bibliography, concordance, index. Bound in publisher's original tan cloth with the spine stamped in gilt. From Wikipedia: J. S. Sargent Watercolors: During Sargent's long career, he painted more than 2,000 watercolors, roving from the English countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night. His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream."[77] In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples. Muddy Alligators, 1917, watercolor With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. And it is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (The Chess Game, 1906).[78] His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905.[79] In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum.[80] Evan Charteris wrote in 1927: To live with Sargent's water-colours is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.'[81] Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer.[82] Theodore Roosevelt, 1903. Sargent had Roosevelt hold his pose when he turned around with impatience to address the artist while they were walking around the White House surveying possible locations for the portrait.[83] Other work As a concession to the insatiable demand of wealthy patrons for portraits, Sargent dashed off hundreds of rapid charcoal portrait sketches, which he called "Mugs". Forty-six of these, spanning the years 1890 1916, were exhibited at the Royal Society of Portrait Painters in 1916.[84] All of Sargent's murals are to be found in the Boston/Cambridge area. They are in the Boston Public Library, the Museum of Fine Arts, and Harvard's Widener Library. Sargent's largest scale works are the mural decorations that grace the Boston Public Library depicting the history of religion and the gods of polytheism.[85] They were attached to the walls of the library by means of marouflage. He worked on the cycle for almost thirty years but never completed the final mural. Sargent drew on his extensive travels and museum visits to create a dense art historial melange. The murals were restored in 2003 2004.[86] Sargent worked on the murals from 1895 through 1919; they were intended to show religion's (and society's) progress, from pagan superstition up through the ascension of Christianity, concluding with a painting depicting Jesus delivering the Sermon on the Mount.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. The expatriate painter John Singer Sargent (1865-1925) and his heirs enjoyed a cordial relationship with The Metropolitan Museum of Art. In consequence, the museum has an unparalleled collection of Sargent's works, in particular his drawings and watercolours, which are all represented in this volume. xv, 426 pages : illustrations (some color), portrait ; 29 cm. First edition, first printing. Beige cloth boards, unclipped dust jacket. Very slight shelf wear and tanning to edges, no inscriptions, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging.