His most radical watercolours were painted after he closed his portrait studio in 1907, when they cam to transcend reality.
Sargent
The man in the background is the husband of Mrs Phelps Stokes, posing as a surrogate for a Great Dane. Note the Renaissance elbow.
How the grand-daughters of the Duchess of Devonshire posed for the triple portrait and referred back to any orgiastic scene of bacchanalian revelry.
Nesbit’s new husband shot dead the acclaimed architect Stanford White in Madison Square Garden, in a fit of insane jealousy.
By 1901, he was fast approaching his fifties and rather staid. This portrait of Evelyn Nesbit was quite out of character, and nearly got him killed later.
Sargent’s paintings of Claude Monet and other artists painting, mostly in front of the motif, form a unique record of painters and their techniques.
From Ondines, who kill men by their curse, to a frozen fountain in Agubbio, and parks in New York, Paris and Rome.
Paul Nash and John Singer Sargent’s paintings for the Hall of Remembrance, the tragic loss of Eric Ravilious, a Serb painter executed in a concentration camp, and more.
“A human observer is able to recognise the colour of objects irrespective of the light used to illuminate the objects.” “Colour constancy does not exist in humans.” Which is right?
Does analysis of literary plots offer anything to the understanding of visual narrative in painting? A journey through some of the best painted stories in quest of the answer.
The Eclectic Light Company 