Lithographed Work of the American Master John Singer Sargent at Candlewood Yankee Fine Arts
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John Singer Sargent “Study of a Male Seated” Lithograph , unsigned work on Lithograher’s Paper & smooth Vellum Finish , measuring 11•8/16 x 8•8/16in sheet . Recorded in Deteil catalogue of J. S. Sargents work , D 1. (only state , first executed in 1895 and published in London, 1915.
John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the “leading portrait painter, watercolorist , and print maker (Lithography) of his generation” for his evocations of Edwardian era luxury During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings and a very few Lithographs . His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.
An American expatriate who was trained in Paris prior to moving to London, Sargent enjoyed international acclaim as a portrait painter, though not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the Grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air.
An American expatriate who was trained in Paris prior to moving to London, Sargent enjoyed international acclaim as a portrait painter, though not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the Grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air.
Before Sargent’s birth, his father FitzWilliam (b. 1820 Gloucester, Massachusetts) was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844-1854. After John’s older sister died at the age of two, his mother Mary (née Singer) suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives.Though based in Paris, Sargent’s parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Italy because of a cholera epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife’s entreaties to remain abroad. They lived modestly on a small inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world. Four more children were born abroad, of whom only two lived past childhood.
John Singer Sargent “Study of a Male Seated” Lithograph , unsigned work on Lithograher’s Paper & smooth Vellum Finish , measuring 11•8/16 x 8•8/16in sheet . Framed in a “button back framed measuring 14 by 18 inches Recorded in Detail catalogue of J. S. Sargents work , D 1. (only state , first executed in 1895 and published in London, 1915.
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