{PRETITLE} John Singer Sargent: Watercolors {POSTTITLE}

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Author: Erica Hirshler Teresa Carbone Richard Ormond John Sargent
ISBN : 0878467912
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John Singer Sargent's approach to watercolor was unconventional. Going beyond turn-of-the-century standards for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer of an exhibition in London proclaimed him "an eagle in a dove-cote"; another called his work "swagger" watercolors. For Sargent, however, the watercolors were not so much about swagger as about a renewed and liberated approach to painting. In watercolor, his vision became more personal and his works more interconnected, as he considered the way one image--often of a friend or favorite place--enhanced another. Sargent held only two major watercolor exhibitions in the United States during his lifetime. The contents of the first, in 1909, were purchased in their entirety by the Brooklyn Museum of Art. The paintings exhibited in the other, in 1912, were scooped up by the Museum of Fine Arts, Boston. John Singer Sargent Watercolors reunites nearly 100 works from these collections for the first time, arranging them by themes and subjects: sunlight on stone, figures reclining on grass, patterns of light and shadow. Enhanced by biographical and technical essays, and lavishly illustrated with 175 color reproductions, this publication introduces readers to the full sweep of Sargent's accomplishments in this medium, in works that delight the eye as well as challenge our understanding of this prodigiously gifted artist.
The international art star of the Gilded Age, John Singer Sargent (1856-1925) was born in Italy to American parents, trained in Paris and worked on both sides of the Atlantic. Sargent is best known for his dramatic and stylish portraits, but he was equally active as a landscapist, muralist, and watercolor painter. His dynamic and boldly conceived watercolors, created during travels to Tuscan gardens, Alpine retreats, Venetian canals and Bedouin encampments, record unusual motifs that caught his incisive eye.

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• Hardcover: 252 pages
• Publisher: MFA Publications/Brooklyn Museum (April 30, 2013)
• Language: English
• ISBN-10: 0878467912
• ISBN-13: 978-0878467914
• Product Dimensions: 12.1 x 10.1 x 1.2 inches
• Shipping Weight: 3.6 pounds (View shipping rates and policies)

{PRETITLE} John Singer Sargent: Watercolors {POSTTITLE}

This is the catalogue that accompanies the exhibition at the Brooklyn Museum from April to July 2013, the Museum of Fine Arts in Boston from October 2013 to January 2014, and the Museum of Fine Arts in Houston from March to May 2014. Both exhibition and catalogue are collaborative efforts of the Boston and Brooklyn museums and are curated and edited by Erica Hirschler and Teresa Carbone, their most senior curators of American art. Perhaps the most surprising thing about this exhibition is that it took so long to get it together, because it's an obvious idea: the museums have owned the two most significant collections of Sargent's watercolors for over a hundred years. The artist was notoriously reluctant to sell his watercolor paintings, not because he did not think them worthy or because he considered them only as products of his leisure, "unofficial" painting time--indeed, after the turn of the century they came increasingly to occupy the major part of his artistic attention--but because he thought of them as groups of serially related works. "United they stand, and divided they fall," he wrote to a friend (40); the only thing that would tempt him to sell would be if "a Museum should offer to buy the whole lot [. . .] for they only amount to anything when they are a lot together" (39). That is precisely what happened: Sargent was persuaded to send his watercolors to only two major exhibitions in the United States, both times at the M. Knoedler gallery in New York: in 1909 the Brooklyn Museum bought eighty-three of the eighty-six pieces exhibited--just a day or two ahead of Boston--and in 1912 Boston, once burned, secured the basis of their collection by buying up the whole lot of forty-five watercolors before the show even opened.