1856-1925 John Singer Sargent Locations John Singer Sargent (January 12, 1856 ?C April 14, 1925) was the most successful portrait painter of his era. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Before Sargent??s birth, his father FitzWilliam was an eye surgeon at the Wills Hospital in Philadelphia. After his older sister died at the age of two, his mother Mary (n??e Singer) suffered a mental collapse and the couple decided to go abroad to recover. They remained nomadic ex-patriates 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 she was pregnant, they stopped in Florence, Italy because of a cholera epidemic, and there Sargent was born 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 an isolated life with their children and generally avoiding society and other Americans except for friends in the art world. Four more children were born abroad of whom two lived past childhood. Though his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home, ??He is quite a close observer of animated nature.?? Contrary to his father, his mother was quite convinced that traveling around Europe, visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to give him formal schooling failed, owning mostly to their itinerant life. She was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Young Sargent worked with care on his drawings, and he enthusiastically copied images from the Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son??s interest in ships and the sea might lead him toward a naval career. At thirteen, his mother reported that John ??sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist.?? At age thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Though his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in French, Italian, and German. At seventeen, Sargent was described as ??willful, curious, determined and strong?? (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, ??I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michael Angelo and Titian.??  Related Paintings of John Singer Sargent :. | Two Girls on a Lawn (mk18) | Fume d Ambre Gris | Millet s Garden | Zuleika | Sargent John Singer Catherine Vlasto |
Related Artists:
Camillo Procaccini
(1551 - August 21, 1629) was an Italian painter. He has been posthumously referred to as the Vasari of Lombardy, for his prolific Mannerist fresco decoration. Born in Bologna, he was the son of the painter Ercole Procaccini the Elder, and older brother to Giulio Cesare and Carlo Antonio, both painters. In 1587 he distinguished in the fresco decoration of the Basilica della Ghiara in Reggio Emilia. In the late 1580s he moved to Milan, where count Camillo Visconti Borromeo commissioned him the decoration of his villa in Lainate. The organ shutters for the Cathedral of Milan were painted after 1590 by Camillo, Giuseppe Meda (died 1599), and Ambrogio Figino. His other works of note include the frescoes of the nave and the apse of the Cathedral of Piacenza in collaboration with Ludovico Carracci (1605 - 1609), and the vault and choir in Santi Paolo e Barnaba of Milan. Also famous is a Nativity in the Sacro Monte d'Orta. Among his pupils is Carlo Biffi. Among his many other works are a Martyrdom of St. Agnes painted in fresco in the sacristy of Milan cathedral; a Madonna and Child painted for the church of Santa Maria del Carmine; an 'Adoration of the Shepherds found in the Brera; and the ceiling of the church of Padri Zoccolanti, representing the Assumption of the Virgin. eall in the same city. He also painted a Last Judgment for the church of San Prospero at Reggio; He painted a St. Roch administering the Sacrament to the Plague-stricken.
Bernardino Licinio
(c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,