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"Mrs. Edward Goetz" at Brigham Young Museum of Art |
John Singer Sargent Virtual Gallery |
Sargent at Harvard – archived searchable database by Harvard University Art Museums |
The Sargent Murals Archived June 2, 2005, at the Wayback Machine at Boston Public Library |
John Singer Sargent – News, biography and works |
John Singer Sargent, Miss M. Carey Thomas, July 1899, oil on canvas, Bryn Mawr College Art and Artifact Collections |
John Singer Sargent Letters Online at the Smithsonian Archives of American Art Archived December 6, 2010, at the Wayback Machine |
"Sargent and the Sea at the Royal Academy", review by Richard Dorment, The Daily Telegraph, July 12, 2010 |
John Singer Sargent at Harper's Magazine |
John Singer Sargent at Smithsonian American Art Museum |
John Singer Sargent exhibition catalogs |
A video discussion about Sargent's Carnation, Lily, Lily, Rose Archived October 7, 2014, at the Wayback Machine from Smarthistory at Khan Academy. |
Artist John Singer Sargent's strong interest in framing |
Works by John Singer Sargent at Project Gutenberg |
Works by or about John Singer Sargent at the Internet Archive |
John Singer Sargent at the Jewish Museum |
John Singer Sargent: Secrets of Composition and Design |
Sargent and Spain, National Gallery of Art, Washington, DC, October 2, 2022 – January 2, 2023 |
Sargent and Spain, Legion of Honor, San Francisco, California, February 11 – May 14, 2023 |
Fashioned by Sargent, Museum of Fine Arts, Boston, October 8, 2023 – January 15, 2024 |
Sargent and Fashion, Tate Britain, London, 22 February – 7 July 2024 Review: LaBarge, Emily; "What John Singer Sargent Saw"; The New York Times, February 29, 2024. |
John Westbrooke Chandler (1763/4 – 1807) was a British painter and poet. |
Biography |
Chandler was the natural son of the Earl of Warwick, presumed to be George Greville, 2nd Earl of Warwick. |
He entered the Royal Academy Schools in 1784 at the age of twenty one, and went on to exhibit portraits and fancy pictures at the Royal Academy between the years 1787 to 1791. As a portrait painter, his surviving works exhibit the influence of many of the leading painters of the late eighteenth century, including Joshua Reynolds, George Romney, John Hoppner and Thomas Lawrence. Chandler was also recorded to have painted landscapes towards the end of his life, yet, none seem to have survived. |
Chandler particularly benefitted from the patronage of the Earl of Warwick, who is likely to have given him the use of studios at Warwick Castle for painting. |
About 1800, he was invited to Aberdeenshire, where he painted a good many portraits. Afterwards he settled in Edinburgh. He indulged freethinking speculations, was melancholic, and is rumoured to have attempted to kill himself. Although previous biographies have suggested that Chandler died in confinement between 1804-5, the reappearance of his obituary written in the Staffordshire Advertiser dated 25 April 1807 has dispelled this myth. Chandler spent the last years of his life living in Stroud, Gloucestershire, where he is said to have painted his final pictures for local patrons. |
The artist also came to befriend the radical thinker and philosopher William Godwin. Records show that Chandler had lent money to Godwin, alongside painting his portrait which is now held in the collection of Tate Britain. |
In 1800 he wrote a neo-gothic ballad 'Sir Hubert' which was dedicated to Earl of Warwick, his natural father or half-brother. It is possible that this neo medieval tale, which climaxes in a joust, was inspired by Warwick Castle. |
References |
Attribution |
This article incorporates text from a publication now in the public domain: Radford, Ernest (1887). "Chandler, J. W.". In Stephen, Leslie (ed.). Dictionary of National Biography. Vol. 10. London: Smith, Elder & Co. |
External links |
9 artworks by or after John Westbrooke Chandler at the Art UK site |
John Westbrooke Chandler on Artnet |
John Westbrooke Chandler in the RKD |
John Wootton (c.1686– 13 November 1764) was an English painter of sporting subjects, battle scenes and landscapes, and illustrator. |
Life |
Born in Snitterfield, Warwickshire (near Stratford-upon-Avon), he is best remembered as a pioneer in the painting of sporting subjects – together with Peter Tillemans and James Seymour – and was considered the finest practitioner of the genre in his day. As such, his paintings were very fashionable and were sought after by those among the highest strata of the British society. These included figures such as George II of Great Britain, Frederick, Prince of Wales, and the Duke of Marlborough. |
It is likely that he received artistic training from Jan Wyck before 1700. Wootton may have begun life as a page to the family of the Dukes of Beaufort. His earliest surviving dated work is the equine portrait Bonny Black (1711). He remained active until his death in 1764, based in the capital of English horse racing at Newmarket, and producing large numbers of portraits of horses and also conversation pieces with a hunting or riding setting. He acquired a classicising landscape style based on that of Gaspard Dughet, which he used in some pure landscape paintings, as well as views of country houses and equine subjects. This introduced an alternative to the various Dutch and Flemish artists who had previously set the prevailing landscape style in Britain, and through intermediary artists such as George Lambert, the first British painter to base a career on landscape subjects, was to greatly influence other British artists such as Gainsborough. |
He is now somewhat eclipsed in the field of animal paintings by the later George Stubbs (1724–1806), who is considered technically superior. John Wootton died in London on 13 November 1764. Examples of his animal painting can be found in the Tate Gallery, London, the Virginia Museum of Fine Arts, Richmond, the Yale Center for British Art, in the Elizabethan Great Hall at Longleat and in The Portland Collection at the Harley Gallery and Foundation. |
See also |
British art |
English school of painting |
List of British artists |
Further reading |
Harrington, Peter (1993). British Artists and War: The Face of Battle in Paintings and Prints, 1700-1914. London: Greenhill. |
Arline J. Meyer, 'Wootton, John (1681/2–1764)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2008 [1] |
Notes |
References |
Waterhouse, Ellis (1978). Painting in Britain, 1530-1790 (4th ed.). Penguin Books: Yale History of Art series. ISBN 0-300-05319-3. |
Meyer, Arline (1984). John Wootton: Landscape and Sporting Art in Early Georgian England. Kenwood House, London: the Iveagh Bequest. |
External links |
58 artworks by or after John Wootton at the Art UK site |
Joseph Mallord William Turner (23 April 1775 – 19 December 1851), known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting. |
Turner was born in Maiden Lane, Covent Garden, London, to a modest lower-middle-class family and retained his lower class accent, while assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which he often only begrudgingly accepted owing to his troubled and contrary nature. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828. He travelled around Europe from 1802, typically returning with voluminous sketchbooks. |
Intensely private, eccentric, and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Evelina (1801–1874) and Georgiana (1811–1843), by the widow Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father in 1829; when his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. In 1841, Turner rowed a boat into the Thames so he could not be counted as present at any property in that year's census. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in St Paul's Cathedral, London. |
Biography |
Childhood |
Turner's father William Turner (1745–1829) moved to London around 1770 from South Molton, Devon. |
Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May. He was born in Maiden Lane, Covent Garden, in London, England. His father was a barber and wig maker. His mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778 but died in August 1783. |
Turner's mother showed signs of mental disturbance from 1785 and was admitted to St Luke's Hospital for Lunatics in Old Street in 1799. She was moved in 1800 to Bethlem Hospital, a mental asylum, where she died in 1804. Turner was sent to his maternal uncle, Joseph Mallord William Marshall, a butcher in Brentford, then a small town on the banks of the River Thames west of London, where Turner attended school. The earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswell's Picturesque View of the Antiquities of England and Wales. |
Around 1786, Turner was sent to Margate on the north-east Kent coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work. By this time, Turner's drawings were being exhibited in his father's shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that: "My son, sir, is going to be a painter". In 1789, Turner again stayed with his uncle who had retired to Sunningwell (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives as well as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career. |
Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder. By the end of 1789, he had also begun to study under the topographical draughtsman Thomas Malton, who specialised in London views. Turner learned from him the basic tricks of the trade, copying and colouring outline prints of British castles and abbeys. He would later call Malton "My real master". Topography was a thriving industry by which a young artist could pay for his studies. |
Career |
Turner entered the Royal Academy of Art in 1789, aged 14, and was accepted into the academy a year later by Sir Joshua Reynolds. He showed an early interest in architecture but was advised by Hardwick to focus on painting. His first watercolour, A View of the Archbishop's Palace, Lambeth, was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. |
As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times. In June 1792, he was admitted to the life class to learn to draw the human body from nude models. Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to Wales, where he produced a wide range of sketches for working up into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman. In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St Vincent's Rock Bristol (now lost), which foreshadowed his later climatic effects. The British writer Peter Cunningham, in his obituary of Turner, wrote that it was: "recognised by the wiser few as a noble attempt at lifting landscape art out of the tame insipidities ... [and] evinced for the first time that mastery of effect for which he is now justly celebrated". |
In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the academy, of a nocturnal moonlit scene of the Needles off the Isle of Wight, an image of boats in peril. Wilton said that the image was "a summary of all that had been said about the sea by the artists of the 18th century". and shows strong influence by artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings. The image was praised by contemporary critics and founded Turner's reputation as both an oil painter and a painter of maritime scenes. |
Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice. Important support for his work came from Walter Ramsden Fawkes of Farnley Hall, near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged 22, when commissioned to paint watercolours of the area. He was so attracted to Otley and the surrounding area that he returned to it throughout his career. The stormy backdrop of Snow Storm: Hannibal and his Army Crossing the Alps is reputed to have been inspired by a storm over the Chevin in Otley while he was staying at Farnley Hall. |
Turner was a frequent guest of George Wyndham, 3rd Earl of Egremont, at Petworth House in West Sussex, and painted scenes that Egremont funded taken from the grounds of the house and of the Sussex countryside, including a view of the Chichester Canal. Petworth House still displays a number of paintings. |
Later life |
As Turner grew older, he became more eccentric. He had few close friends except for his father, who lived with him for 30 years and worked as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married but had a relationship with an older widow, his housekeeper Sarah Danby. He is believed to have been the father of her two daughters Evelina Dupuis and Georgiana Thompson. Evelina married Joseph Dupuis on 31 October 1817. It was recorded that her mother, Sarah Danby, was a witness along with Charles Thompson. |
Turner formed a relationship with Sophia Caroline Booth after her second husband died, and from 1846 he lived with her as "Mr Booth" or "Admiral Booth" in her house at 6 Davis's Place (now Cheyne Walk) in Chelsea, until his death in December 1851. |
Turner was a habitual user of snuff; in 1838, Louis Philippe I, King of the French, presented a gold snuff box to him. Of two other snuffboxes, an agate and silver example bears Turner's name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper. |
Turner formed a short but intense friendship with the artist Edward Thomas Daniell. The painter David Roberts wrote of him that, "He adored Turner, when I and others doubted, and taught me to see & to distinguish his beauties over that of others ... the old man really had a fond & personal regard for this young clergyman, which I doubt he ever evinced for the other". Daniell may have supplied Turner with the spiritual comfort he needed after the deaths of his father and friends, and to "ease the fears of a naturally reflective man approaching old age". After Daniell's death in Lycia at the age of 38, he told Roberts he would never form such a friendship again. |
Before leaving for the Middle East, Daniell commissioned Turner’s portrait from John Linnell. Turner had previously refused to sit for the artist, and it was difficult to get his agreement to be portrayed. Daniell positioned the two men opposite each other at dinner, so that Linnell could observe his subject carefully and portray his likeness from memory.Turner died of cholera at the home of Sophia Caroline Booth, in Cheyne Walk in Chelsea, on 19 December 1851. He is buried in St Paul's Cathedral, where he lies near the painter Sir Joshua Reynolds. Apparently his last words were "The Sun (or Son?) is God", though this may be apocryphal. |
Turner's friend, the architect Philip Hardwick, the son of his old tutor, was in charge of making the funeral arrangements and wrote to those who knew Turner to tell them at the time of his death that, "I must inform you, we have lost him." Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of Westminster – now Chelsea & Westminster – Hospital), Revd. Henry Scott Trimmer, George Jones RA and Charles Turner ARA. |
Art |
Style |
Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles". Turner was recognised as an artistic genius; the English art critic John Ruskin described him as the artist who could most "stirringly and truthfully measure the moods of Nature". |
Turner's imagination was sparked by shipwrecks, fires (including the burning of Parliament in 1834, an event which Turner witnessed first-hand, and transcribed in a series of watercolour sketches), and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen at the 1840 Royal Academy of Arts exhibition, where The Slave Ship (1840), and Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water (1840) were first shown. A 2003 exhibition at the Clark Art Institute suggested these two paintings were pendants, due in part to their similar content and size. |
Turner's work drew criticism from contemporaries. An anonymous review of the 1840 Royal Academy exhibition, later identified as John Eagles, called the displayed paintings “absurd extravagances [that] disgrace the Exhibition”. Sir George Beaumont, a landscape painter and fellow member of the Royal Academy, described his paintings as "blots". |
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