On the ceiling of a stairway of the Museum of Fine Arts in Boston is one of Sargent’s last and greatest paintings: one of the greatest narrative paintings of the 20th century.
Sargent
There’s a lot more to this painting than first meets the eye: a bit of Brueghel, some Leighton, and even some Signorelli.
Elected the first woman Associate of the Royal Academy since it was founded, she had a very individual style, with a unique visual richness.
A popular title in the 19th century, it is almost a hallmark of the Aesthetic movement: no narrative, no meaning, just art for art’s sake. Except…
Two triple portraits of ladies of the nobility, which alluded to two quite racy paintings of drunken feasts, and a goddess with 8 breasts. What is going on?
How Sargent’s portrait of a young New York bride turned into a provocative account of The New Woman.
After his reputation was shredded by Roger Fry, Alma-Tadema was almost forgotten. Why should his work now be revived?
Into the 20th century, and he was busy teaching at Summer Schools in Europe, and trying to come to terms with art of the future.
His golden age, when each summer the family moved up to their house at Shinnecock, where he taught, and painted like never before.
A busy period of work mainly in his New York studio, Chase met and painted with Whistler in London, and Sargent in New York.
