John Sargent |
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Other editions - View all
Common terms and phrases
Abbey admiration American artist astigmatism beauty Boston Library Broadway brush canvas Carolus Duran Charles charm Christies Claude Monet colour Coventry Patmore critics D. S. MacColl DEAR decorative delightful drawing dress easel Emily England English English Art Club exhibited expression figure Florence France Francis Ormond Franz Hals French garden George Girl Glehn head Helleu Henry James Impressionism Impressionists influence Inscr interest John Sargent Joseph Farquharson Knoedler landscape later letter light Lily London look lunette MacColl Madame Gautreau Millet Miss Sargent Museum never Owner painting Paris Patmore Penn picture portrait painter Ralph Curtis Rome Royal Academy Salon Sargent's art scene Scott and Fowles seemed Signed and dated Sir Edmund Gosse Sir Philip Sassoon sister sketch Spanish Stevenson Tate Gallery things Tite Street Title tone Velasquez Venice Vickers water-colours Whistler William wrote
Popular passages
Page 84 - Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of Cockney impudence before now ; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face.
Page 190 - ... in the early part of this century, many people complained bitterly that the nonrepresentational and abstract works were not works of art. Thus one critic wrote: "The farce will end when people look at Post-Impressionist pictures as Mr. Sargent looked at those shown in London, 'absolutely skeptical as to their having any claim whatever to being works of art.
Page 140 - For behold ! The Victorian era comes to its end and the day of sancta simplicitas is quite ended. The old signs are here and the portents to warn the seer of life that we are ripe for a new epoch of artifice.
Page 154 - No more paughtraits* whether refreshed or not. I abhor and abjure them and hope never to do another especially of the Upper Classes.
Page 78 - I think, excellent, but is too eccentric to be exhibited. I am at one extreme corner ; my wife, in this wild dress, and looking like a ghost, is at the extreme other end ; between us an open door exhibits my palatial entrance hall and a part of my respected staircase. All this is touched in lovely, with that witty touch of Sargent's ; but, of course, it looks dam queer as a whole.
Page 79 - But it's an odd thing that such tricks should grow at a time when my last layers of resistance to a longencroaching weariness and satiety with the French mind and its utterance has fallen from me like a garment. I have done with 'em, forever, and am turning English all over. I desire only to feed on English life and the contact of English minds — I wish greatly I knew some.
Page 79 - em, forever and am turning English all over. I desire only to feed on English life and the contact of English minds — I wish greatly I knew some. Easy and smoothflowing as life is in Paris, I would throw it over tomorrow for an even very small chance to plant myself for a while in England.
Page 74 - Instantly, he took up his place at a distance from the canvas, and at a certain notation of the light ran forward over the lawn with the action of a wag-tail, planting at the same time rapid dabs of paint on the picture, and then retiring again, only with equal suddenness to repeat the wagtail action.
Page 78 - I still enjoy)4 and who sees the circle of impotence closing very slowly but quite steadily around him? In my view, one dank, dispirited word is harmful, a crime of lese-humanite, a piece of acquired evil; every gay, every bright word or picture, like every pleasant air of music, is a piece of pleasure set afloat; the reader catches it and, if he be healthy, goes on his way rejoicing; and it is the business of art so to send him, as often as possible.
Page 132 - The representative element in a work of art may or may not be harmful; always it is irrelevant. For, to appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions.