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Artworks by or after John Crome at the Art UK site |
Works by (or relating to) John Crome at the British Museum |
Works by (or relating to) John Crome in the Norfolk Museums Collections |
Works by (or relating to) John Crome at the Yale Center for British Art |
John Glover may refer to: |
Artists |
John Glover (actor) (born 1944), American actor |
John Glover (artist) (1767–1849), English-Australian painter |
John William Glover (1815–1899), Irish composer |
Politicians |
John Glover (MP), cloth merchant and member of the Parliament of England |
John Montgomery Glover (1822–1891), U.S. Representative from Missouri and Civil War cavalry colonel |
John Milton Glover (1852–1929), U.S. Representative from Missouri |
John Glover (New Zealand politician) (1866–1947), first secretary of the New Zealand Labour Party |
Sports |
John Glover (cricketer, born 1989), Welsh cricketer |
John Glover (cricketer, born 1992), English cricketer |
John Glover (footballer) (1876–1955), English footballer |
Others |
Charles John Glover, known as Sir John Glover, Lord Mayor of Adelaide 1960–1963, see List of mayors and lord mayors of Adelaide |
John Glover (preacher) (1714–1774), English preacher |
John Glover (general) (1732–1797), American general |
John Glover (late 18th century), American soldier and pioneer who first settled Greensburg, Kentucky |
John Hawley Glover (1829–1885), British naval captain |
John Wayne Glover (1932–2005), Australian serial killer |
Jonathan Glover (born 1941), British philosopher |
John Corbett Glover (1909–1949), Catholic priest |
John "Cockey" Glover was lynched by a mob after shooting Deputy Sheriff Walter C. Byrd |
See also |
Jon Glover (born 1952), British actor |
John Roberts, Chief Judge of the Supreme Court of the United States, whose middle name is Glover |
John Singer Sargent (; January 12, 1856 – April 14, 1925) was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury. He created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. ... |
Born in Florence to American parents, he was trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter. An early submission to the Paris Salon in the 1880s, his Portrait of Madame X, was intended to consolidate his position as a society painter i... |
From the beginning, Sargent's work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for its supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his in... |
The exhibition in the 1980s of Sargent's previously hidden male nudes served to spark a reevaluation of his life and work, and its psychological complexity. In addition to the beauty, sensation and innovation of his oeuvre, his same-sex interests, unconventional friendships with women and engagement with race, gender n... |
Early life |
Sargent was a descendant of Epes Sargent, a colonial military leader and jurist. Before John Singer Sargent's birth, his father, FitzWilliam (b. 1820 in Gloucester, Massachusetts), was an eye surgeon at the Wills Eye Hospital in Philadelphia from 1844 to 1854. After John's older sister died at the age of two, his mothe... |
While Mary was pregnant, they stopped in Florence, Tuscany, because of a cholera epidemic. Sargent was born there 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 request to remain abroad. They lived modestly on a small i... |
Although 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." His mother was convinced that traveling around Europe, and visiting museums and church... |
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 the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his... |
Training |
An attempt to study at the Academy of Florence failed, as the school was reorganizing at the time. After returning to Paris from Florence, Sargent began his art studies with the young French portraitist Carolus-Duran. Following a meteoric rise, the artist was noted for his bold technique and modern teaching methods; hi... |
In 1874, Sargent passed on his first attempt the rigorous exam required to gain admission to the École des Beaux-Arts, the premier art school in France. He took drawing classes, which included anatomy and perspective, and gained a silver prize. He also spent much time in self-study, drawing in museums and painting in a... |
Carolus-Duran's atelier was progressive, dispensing with the traditional academic approach, which required careful drawing and underpainting, in favor of the alla prima method of working directly on the canvas with a loaded brush, derived from Diego Velázquez. It was an approach that relied on the proper placement of t... |
This approach also permitted spontaneous flourishes of color not bound to an underdrawing. It was markedly different from the traditional atelier of Jean-Léon Gérôme, where Americans Thomas Eakins and Julian Alden Weir had studied. Sargent was the star student in short order. Weir met Sargent in 1874 and noted that Sar... |
Sargent's early enthusiasm was for landscapes, not portraiture, as evidenced by his voluminous sketches full of mountains, seascapes, and buildings. Carolus-Duran's expertise in portraiture finally influenced Sargent in that direction. Commissions for history paintings were still considered more prestigious, but were m... |
Sargent's first major portrait was of his friend Fanny Watts in 1877, and was also his first Salon admission. Its particularly well-executed pose drew attention. His second salon entry was the Oyster Gatherers of Cançale, an impressionistic painting of which he made two copies, one of which he sent back to the United S... |
Early career |
In 1879 at the age of 23, Sargent painted a portrait of his teacher Carolus-Duran; the virtuoso effort met with public approval and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions. Of Sargent's early work,... |
After leaving Carolus-Duran's atelier, Sargent visited Spain. There he studied the paintings of Velázquez with a passion, absorbing the master's technique, and in his travels gathered ideas for future works. He was entranced with Spanish music and dance. The trip also re-awakened his own talent for music (which was nea... |
Trips to Italy provided sketches and ideas for several Venetian street-scene genre paintings, which effectively captured gestures and postures he would find useful in later portraiture. |
Upon his return to Paris, Sargent quickly received several portrait commissions. His career was launched. He immediately demonstrated the concentration and stamina that enabled him to paint with workman-like steadiness for the next twenty-five years. He filled in the gaps between commissions with many non-commissioned ... |
Works |
Portraits |
Nineteenth-century portraits |
In the early 1880s, Sargent regularly exhibited portraits at the Salon, and these were mostly full-length portrayals of women, such as Madame Edouard Pailleron (1880) (done en plein-air) and Madame Ramón Subercaseaux (1881). He continued to receive positive critical notice. |
Sargent's best portraits reveal the individuality and personality of the sitters; his most ardent admirers think he is matched in this only by Velázquez, who was one of Sargent's great influences. The Spanish master's spell is apparent in Sargent's The Daughters of Edward Darley Boit, 1882, a haunting interior that ech... |
Portrait of Madame X |
His most controversial work, Portrait of Madame X (Madame Pierre Gautreau) (1884) is now considered one of his best works, and was his favorite; he stated in 1915: "I suppose it is the best thing I have done." When unveiled in Paris at the 1884 Salon, it aroused such a negative reaction that it likely prompted Sargent'... |
The painting was not commissioned by her, and he pursued her for the opportunity, quite unlike most of his portrait work where clients sought him out. Sargent wrote to a common acquaintance: |
I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty. ...you might tell her that I am a man of prodigious talent. |
It took well over a year to complete the painting. The first version of the portrait of Madame Gautreau, with the famously plunging neckline, white-powdered skin, and arrogantly cocked head, featured an intentionally suggestive off-the-shoulder dress strap, on her right side only, which made the overall effect more dar... |
Writing of the reaction of visitors, Judith Gautier observed: |
Is it a woman? a chimera, the figure of a unicorn rearing as on a heraldic coat of arms or perhaps the work of some oriental decorative artist to whom the human form is forbidden and who, wishing to be reminded of woman, has drawn the delicious arabesque? No, it is none of these things, but rather the precise image of ... |
Prior to the Madame X scandal of 1884, Sargent had painted exotic beauties such as Rosina Ferrara of Capri, and the Spanish expatriate model Carmela Bertagna, but the earlier pictures had not been intended for broad public reception. Sargent kept the painting prominently displayed in his London studio until he sold it ... |
Move to England |
Before arriving in England, Sargent began sending paintings for exhibition at the Royal Academy. These included the portraits of Dr. Pozzi at Home (1881), a flamboyant essay in red and his first full-length male portrait, and the more traditional Mrs. Henry White (1883). The ensuing portrait commissions encouraged Sarg... |
Notwithstanding the Madame X scandal, he had considered moving to London as early as 1882; he had been urged to do so repeatedly by his new friend, the novelist Henry James. In retrospect his transfer to London may be seen to have been inevitable. |
English critics were not warm at first, faulting Sargent for his "clever" "Frenchified" handling of paint. One reviewer seeing his portrait of Mrs. Henry White described his technique as "hard" and "almost metallic" with "no taste in expression, air, or modeling". With help from Mrs. White, however, Sargent soon gained... |
Sargent spent much time painting outdoors in the English countryside when not in his studio. On a visit to Monet at Giverny in 1885, Sargent painted one of his most Impressionistic portraits, of Monet at work painting outdoors with his new bride nearby. Sargent is usually not thought of as an Impressionist painter, but... |
Sargent was similarly inspired to do a portrait of his artist friend Paul César Helleu, also painting outdoors with his wife by his side. A photograph very similar to the painting suggests that Sargent occasionally used photography as an aid to composition. Through Helleu, Sargent met and painted the famed French sculp... |
Sargent's first major success at the Royal Academy of Arts came in 1887, with the enthusiastic response to Carnation, Lily, Lily, Rose, a large piece, painted on site, of two young girls lighting lanterns in an English garden in Broadway in the Cotswolds. The painting was immediately purchased by the Tate Gallery. |
His first trip to New York and Boston as a professional artist in 1887–88 produced over 20 important commissions, including portraits of Isabella Stewart Gardner, the famed Boston art patron. His portrait of Mrs. Adrian Iselin, wife of a New York businessman, revealed her character in one of his most insightful works. ... |
Back in London, Sargent was quickly busy again. His working methods were by then well-established, following many of the steps employed by other master portrait painters before him. After securing a commission through negotiations which he carried out, Sargent would visit the client's home to see where the painting was... |
Sargent had no assistants; he handled all the tasks, such as preparing his canvases, varnishing the painting, arranging for photography, shipping, and documentation. He commanded about $5,000 per portrait, or about $130,000 in current dollars. Some American clients traveled to London at their own expense to have Sargen... |
The range of pigments regularly used by Sargent was: "Mars yellow (a synthetic iron oxide) and cadmium yellow; viridian and emerald green, sometimes mixed; vermillion and Mars red, both alone and mixed; madder; synthetic ultramarine or cobalt blue; and ivory black, sienna and Mars brown". |
Around 1890, Sargent painted two daring non-commissioned portraits as show pieces—one of actress Ellen Terry as Lady Macbeth and one of the popular Spanish dancer La Carmencita. Sargent was elected an associate of the Royal Academy, and was made a full member three years later. |
In the 1890s, he averaged fourteen portrait commissions per year, none more beautiful than the genteel Lady Agnew of Lochnaw, 1892. His portrait of Mrs. Hugh Hammersley (Mrs. Hugh Hammersley, 1892) was equally well received for its lively depiction of one of London's most notable hostesses. As a portrait painter in the... |
Although Sargent was an American expatriate, he returned to the United States many times, often to answer the demand for commissioned portraits. Sargent exhibited nine of his portraits in the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago. |
Sargent painted a series of three portraits of Robert Louis Stevenson. The second, Portrait of Robert Louis Stevenson and his Wife (1885), was one of his best known. He also completed portraits of two U.S. presidents: Theodore Roosevelt and Woodrow Wilson. In 1896, the Trustees of the Metropolitan Museum of Art commiss... |
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