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Journal articles on the topic 'Sargent, John Singer'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

arensman, emily. "John Singer Sargent's “Devils”." Gastronomica 11, no. 3 (2011): 8–11. http://dx.doi.org/10.1525/gfc.2011.11.3.8.

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Around 1875, John Singer Sargent painted a small oil picture of two octopuses on the deck of a fishing boat near Brittany. This canvas, now titled Two Octopi, is one of the very earliest oil paintings in the artist's oeuvre and shows Sargent's youthful proficiency in the medium. Even more remarkable is Sargent's peculiar choice of subject, particularly for an artist who would become famous for his portraits of high society. This essay examines the different evidence one can mine from Two Octopi: Sargent's early travels, academic training, and visual and tactile imagination. It also draws on cu

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2

Reynolds, Anna. "John Singer Sargent Painting Fashion." Metropolitan Museum Journal 54 (December 2019): 106–24. http://dx.doi.org/10.1086/707575.

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3

Volk, Mary Crawford, Richard Ormond, and Elaine Kilmurray. "John Singer Sargent: The Early Portraits." New England Quarterly 73, no. 2 (2000): 340. http://dx.doi.org/10.2307/366818.

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4

Coles, William A., Stanley Olson, and Patricia Hills. "New Perspectives on John Singer Sargent." New England Quarterly 61, no. 1 (1988): 122. http://dx.doi.org/10.2307/365224.

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5

Fairbrother, Trevor. ""Man Screaming" by John Singer Sargent." American Art 15, no. 1 (2001): 84–89. http://dx.doi.org/10.1086/444634.

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6

Geraint James, D. "John Singer Sargent and The Four Doctors." Journal of Medical Biography 15, suppl 1 (2007): 5. http://dx.doi.org/10.1258/j.jmb.2007.s-1-07-01.

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7

Fisher, Paul. "John Singer Sargent’s Portraits of Henry James as Windows into a Suppressed Queer Friendship." Henry James Review 45, no. 3 (2024): 274–83. http://dx.doi.org/10.1353/hjr.2024.a941314.

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Abstract: With virtually all the thirty-four-year correspondence between Henry James and John Singer Sargent lost, Sargent’s four portraits of James yield intriguing clues to the interiority of these men’s relation. The three extant portraits hint that this suppressed queer friendship was both more and less than a monolithic professional alliance. All three exhibit both affinity and unease. The early portraits hint at James’s heavy influence and Sargent’s complex resistance to it. The two later portraits, especially the celebrated oil portrait of 1913, show a mature alliance that sheltered bot

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8

Weinberg, H. Barbara, and Stephanie L. Herdrich. "John Singer Sargent: In the Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57, no. 4 (2000): 1. http://dx.doi.org/10.2307/3269083.

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9

최영순. "John Singer Sargent: The Politics of Fashion/Taste/Class." English & American Cultural Studies 13, no. 2 (2013): 103–20. http://dx.doi.org/10.15839/eacs.13.2.201308.103.

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10

James, D. Geraint. "John Singer Sargent (1856–1925) and his medical legacy." Journal of Medical Biography 17, no. 3 (2009): 176. http://dx.doi.org/10.1258/jmb.2009.009041.

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11

Ribeyrol, Charlotte. "John Singer Sargent and thefin de siècleCulture of Mauve." Visual Culture in Britain 19, no. 1 (2018): 6–26. http://dx.doi.org/10.1080/14714787.2018.1447992.

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12

Shelley, Marjorie. ""Splendid Mountain," a Sketchbook by the Young John Singer Sargent." Metropolitan Museum Journal 28 (January 1993): 185–205. http://dx.doi.org/10.2307/1512926.

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13

Viraben, Hadrien. "‘Le Pavé Rouge’: Making an Example of John Singer Sargent." Visual Culture in Britain 19, no. 1 (2018): 27–48. http://dx.doi.org/10.1080/14714787.2018.1441744.

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14

Renes, Liz, and Emily Moore. "Sargentology – New Perspectives on the Works of John Singer Sargent." Visual Culture in Britain 19, no. 1 (2018): 1–5. http://dx.doi.org/10.1080/14714787.2018.1445023.

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15

Sánchez, Angel, and Susana Silvia Zarza Villegas. "John Singer Sargent: del lujo industrial a la transformación social." Revista Valenciana estudios de filosofía y letras, no. 31 (January 9, 2023): 57–78. http://dx.doi.org/10.15174/rv.v15i31.683.

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Condicionada por el modo económico de cada formación social, la pintura ha participado -y no en menor medida- de la adaptación; sus imágenes rectoras han dado cuerpo y forma a los engranajes ideológicos, y su valor funcional se ha reconducido a la mera relación fetichista; de esta manera, en el instante en que hay pintura, deja de haberla propiamente. Por otro lado, el arte tiene por condición autonomía y libertad, y en el artista no es decisiva la conciencia armónica, puesto que carece de libertad, puesto que está en dialéctica con la realidad social, éste interviene en su transformación. El

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16

Vargo*, Julianna, and Michael Moran. "FR02-07 POISON GAS AND THE ART OF JOHN SINGER SARGENT." Journal of Urology 203 (April 2020): e294. http://dx.doi.org/10.1097/ju.0000000000000851.07.

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17

Volk, Mary Crawford, and Marc Simpson. "Uncanny Spectacle: The Public Career of the Young John Singer Sargent." New England Quarterly 71, no. 4 (1998): 657. http://dx.doi.org/10.2307/366613.

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18

Bendiner, Kenneth, and Marc Simpson. "Uncanny Spectacle: The Public Career of the Young John Singer Sargent." Albion: A Quarterly Journal Concerned with British Studies 30, no. 3 (1998): 543. http://dx.doi.org/10.2307/4053342.

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19

González Martín-Moro, J., and G. Azurza Rivas. "John Singer Sargent, España y los horrores de la guerra química." Archivos de la Sociedad Española de Oftalmología 89, no. 3 (2014): e16-e18. http://dx.doi.org/10.1016/j.oftal.2013.09.005.

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20

Langley, Leanne. "Art Music: John Singer Sargent as Listener, Practitioner, Performer and Patron." Visual Culture in Britain 19, no. 1 (2018): 112–31. http://dx.doi.org/10.1080/14714787.2018.1447392.

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21

Miller, Lucia, and Lucia Fairchild. "John Singer Sargent in the Diaries of Lucia Fairchild 1890 and 1891." Archives of American Art Journal 26, no. 4 (1986): 2–16. http://dx.doi.org/10.1086/aaa.26.4.1557205.

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22

Maine, Barry. "Picture and Text: Venetian Interiors by Henry James and John Singer Sargent." Henry James Review 23, no. 2 (2002): 136–56. http://dx.doi.org/10.1353/hjr.2002.0012.

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23

Burke, Mary M. "The Grand Affair: John Singer Sargent in His World by Paul Fisher (review)." Henry James Review 46, no. 1 (2025): E—1—E—3. https://doi.org/10.1353/hjr.2025.a950901.

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24

Hughes, Christena F. "The Fountain, Villa Torlonia, Frascati, Italy (1907) I John Singer Sargent(1856–1925)." Journal of the American Pharmaceutical Association (1996) 40, no. 4 (2000): 576. http://dx.doi.org/10.1016/s1086-5802(15)30416-2.

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25

Pernoud, Emmanuel. "Le papillon et la fumée de cigare. Sur une peinture de John Singer Sargent." Revue française de psychanalyse 84, no. 1 (2020): 87. http://dx.doi.org/10.3917/rfp.841.0087.

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26

Helmreich, Anne L. "John Singer Sargent,Carnation, Lily, Lily, Rose, and the Condition of Modernism in England, 1887." Victorian Studies 45, no. 3 (2003): 433–56. http://dx.doi.org/10.2979/vic.2003.45.3.433.

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27

Helmreich, Anne. "John Singer Sargent, Carnation, Lily, Lily, Rose, and the Condition of Modernism in England, 1887." Victorian Studies 45, no. 3 (2003): 433–55. http://dx.doi.org/10.1353/vic.2003.0125.

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28

SOMERVILLE, ROSA. "JOHN SINGER SARGENT FIGURES AND LANDSCAPES, 1874?1882 COMPLETE PAINTINGS VOLUME IV BY RICHARD ORMOND AND ELAINE KILMURRAY." Art Book 14, no. 3 (2007): 36–38. http://dx.doi.org/10.1111/j.1467-8357.2007.00835.x.

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29

Rhi, Mikyung. "War Painted by the Stranger of the Atlantic: John Singer Sargent"s War Memorial and Ways of Mourning." Journal of the Association of Western Art History 60 (February 29, 2024): 105–27. http://dx.doi.org/10.16901/jawah.2024.02.60.105.

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30

Rhi, Mi Kyung. "Reconsideration of Publicity through the Synagogue Debate caused by John Singer Sargent for Public Murals Installed in Boston Public Library." Art History 49 (February 28, 2025): 123–46. https://doi.org/10.14769/jkaahe.2025.02.49.123.

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31

BURNS, S. "The 'Earnest, Untiring Worker' and the Magician of the Brush: Gender Politics in the Criticism of Cecilia Beaux and John Singer Sargent." Oxford Art Journal 15, no. 1 (1992): 36–53. http://dx.doi.org/10.1093/oxartj/15.1.36.

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32

Bendiner, Kenneth. "Marc Simpson. Uncanny Spectacle: The Public Career of the Young John Singer Sargent. New Haven, Conn.: Yale University Press. 1997. Pp. xiii, 192. $40.00. ISBN 0-300-07177-9." Albion 30, no. 3 (1998): 543–45. http://dx.doi.org/10.1017/s0095139000061640.

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33

Collins, Emily B. "John Singer Sargent’s Helen Sears." Archives of Facial Plastic Surgery 12, no. 3 (2010): 212. http://dx.doi.org/10.1001/archfaci.2010.22.

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34

Sidlauskas, Susan. "Painting Skin: John Singer Sargent's "Madame X"." American Art 15, no. 3 (2001): 9–33. http://dx.doi.org/10.1086/444645.

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35

Ormond, Richard. "A Note on John Singer Sargent's "Mosquito Nets"." Bulletin of the Detroit Institute of Arts 69, no. 1-2 (1995): 4–13. http://dx.doi.org/10.1086/dia41504902.

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36

Denisoff, Dennis. "Intimacy, Authority, Anxiety: John Singer Sargent's Portraits of Artists." Nineteenth Century Studies 25, no. 1 (2011): 251–60. http://dx.doi.org/10.5325/ninecentstud.25.2011.0251.

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37

wissman, fronia e. "Renoir's Onions." Gastronomica 9, no. 2 (2009): 7–9. http://dx.doi.org/10.1525/gfc.2009.9.2.7.

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Pierre-Auguste Renoir's painting Onions, at the Clark Art Institute in Williamstown, Massachusetts, was painted in Naples in 1881. Renoir went to Italy in part to see the art of the Renaissance, especially the frescoes of Raphael. Onions is his response to frescoes, but not Raphael's. Instead, he was energized by seeing frescoes from Pompeii and Herculaneum that he saw installed in the National Archaeological Museum in Naples. Renoir's painting also is testimony to his difficulty in finding suitable models from whom to paint. A comparison is made with John Singer Sargent's contemporaneous pain

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38

Mahon, Dorothy, and Silvia Centeno. "A Technical Study of John Singer Sargent's Portrait of Madame Pierre Gautreau." Metropolitan Museum Journal 40 (January 2005): 121–15. http://dx.doi.org/10.1086/met.40.20320648.

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39

Farrell, Eugene, Kate Olivier, and Teri Hensick. "JOHN SINGER SARGENT'S FORGOTTEN MURAL CYCLE,THE TRIUMPH OF RELIGIONAT THE BOSTON PUBLIC LIBRARY." Studies in Conservation 43, sup2 (1998): 25. http://dx.doi.org/10.1179/sic.1998.supplement-2.025.

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40

Sharpe, Chloe. "Painting photographed sculpture: John Singer Sargent’s Spanish photographs and the Boston Public Library murals." Sculpture Journal 26, no. 2 (2017): 175–92. http://dx.doi.org/10.3828/sj.2017.26.2.4.

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41

Stone, Elizabeth Doe. "Mobility and the Matter of Memory: John Singer Sargent's Robert Louis Stevenson and His Wife." Art History 42, no. 3 (2019): 540–65. http://dx.doi.org/10.1111/1467-8365.12442.

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42

Burnham, Patricia M. "Painting Religion in Public: John Singer Sargent's Triumph of Religion at the Boston Public Library." Word & Image 22, no. 2 (2006): 189–91. http://dx.doi.org/10.1080/02666286.2006.10435745.

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43

Shibayama, Nobuko, Dorothy Mahon, Silvia A. Centeno, and Federico Carò. "John Singer Sargent’s Mrs. Hugh Hammersley: Colorants and Technical Choices to Depict an Evening Gown." Metropolitan Museum Journal 53 (November 2018): 172–79. http://dx.doi.org/10.1086/701749.

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44

Muñoz Martín, Ana. "Bodies on the Threshold: The Significance of Fabrics in John Singer Sargent’s Male Nudes, 1890–1915." Visual Culture in Britain 19, no. 1 (2018): 66–88. http://dx.doi.org/10.1080/14714787.2018.1435304.

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45

Fryd, Vivien Green. "Painting Religion in Public: John Singer Sargent's "Triumph of Religion" at the Boston Public Library. Sally M. Promey." Winterthur Portfolio 35, no. 1 (2000): 103–5. http://dx.doi.org/10.1086/496808.

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46

Sarot, Marcel. "Transformative Poetry. A Case Study of W. H. Auden’s Musée Des Beaux Arts and General Conclusions." Perichoresis 14, no. 2 (2016): 81–97. http://dx.doi.org/10.1515/perc-2016-0012.

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Abstract This article situates Auden’s poem Musée des Beaux Arts in the process of his conversion to Christianity. The author argues for the layered intertextuality of the poem, in which allusions to Bruegel’s Landscape with the Fall of Icarus, The Census at Jerusalem, and The Massacre of the Innocents can be recognised. Moreover, Philippe de Champaigne’s Presentation in the Temple and Peter Paul Rubens’s The Martyrdom of St Livinus (in the same museum in Brussels) seem also to have influenced the poem. Finally, there is reason to suppose that John Singer Sargent’s Crashed Aeroplane influenced

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47

Rhi, Mikyung. "A Study on Reliefs in John Singer Sargent’s Murals - Overcoming the Limits of Mural Expression and Experimentation with Mural Techniques -." Journal of the Association of Western Art History 46 (February 28, 2017): 199. http://dx.doi.org/10.16901/jawah.2017.02.46.199.

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48

Siedell, Daniel A. "Painting Religion in Public: John Singer Sargent's “Triumph of Religion” at the Boston Public Library. By Sally M. Promey. Princeton: Princeton University Press, 1999. x + 365 pp. $45.00 cloth." Church History 69, no. 3 (2000): 687–89. http://dx.doi.org/10.2307/3169436.

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49

IVEY, P. "Sally M. Promey. Painting Religion in Public: John Singer Sargent's Triumph of Religion at the Boston Public Library. Princeton, NJ, Princeton University Press, 1999, x+365 pp., $52.50/E35.00 ISBN 0 691 01565 1." Religion 34, no. 2 (2004): 153–56. http://dx.doi.org/10.1016/j.religion.2003.11.007.

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50

"John Singer Sargent." Choice Reviews Online 36, no. 10 (1999): 36–5457. http://dx.doi.org/10.5860/choice.36-5457.

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