Showing posts with label john singer sargent. Show all posts
Showing posts with label john singer sargent. Show all posts

Monday, February 26, 2024

NEW Blavatnik Art, Film and Photography Galleries at the Imperial War Museum

Last Friday, I visited the Blavatnik Art, Film and Photography Galleries at the Imperial War Museum (IWM) for the first time. They are the galleries in the UK’s to explore how artists, photographers and filmmakers bear witness to and tell the story of war and conflict.

The Imperial War Museum is not typically a place I think of when wanting to see art - but recent developments suggest it should definitely be part of the education of any self-respecting artist of fan of art history who wants to understand better how war has been recorded from a visual perspective.

Not least because the Galleries include some iconic artwork as well as important films and photography.

The reason I was at the IWM last Friday was because I'd been invited by the Museum's Digital Producer/Director to some filming she was doing with Gareth Reid in relation to various of the outstanding paintings in the IWM's art collection.

Gareth Reid being filmed while sketching and making notes
about "Gassed" by John Singer Sargent

Some of you may remember Gareth Reid as the winner of the 2017 series of Portrait Artist of the Year and more recently Portrait Artist of the Decade (Review: Portrait Artist of the Decade as featured in Portrait Artist of the Decade Exhibition at the National Portrait Gallery - last few days). For me he will always Gareth Reid who I first met at the National Portrait Gallery back in 2008 when he was responsible for what I still think of as one of the best BP Travel Award Exhibitions in the history of the award (see BP Travel Award: Gareth Reid and the Finnish winter bathers).

He and I were both very impressed with the Galleries and their content. Read on to find out more.

The Blavatnik Art, Film and Photography Galleries

The Blavatnik Art, Film and Photography Galleries are located at the Imperial War Museum in London. They opened last November on Remembrance Sunday. 

The Galleries are free to enter, making more of IWM’s world-class collection available and accessible to all.

Entrance to the Blavatnik Art, Film and Photography Galleries
This is the first time in IWM’s history that a permanent gallery space has been created to display the three collections together - visual art, film and photography.

Thursday, August 05, 2021

Painting and paintings by John Singer Sargent

My second post from the archives is about John Singer Sargent and his approach to paintings.

Below are past blog posts which are well worth a read to look at the resources I accessed while writing about him in the last 15 years
 
An Artist in His Studio (1904 ) by John Singer Sargent 

Approach to Painting


Exhibitions

Wednesday, May 06, 2020

VIDEO: Painting the Modern Garden

One of the new initiatives by Museums during the Lockdown has been better promotion of the Exhibitions on Screen films made in the past in association with different art galleries and museums.

This week the Royal Academy of Arts has posted a video related to its 2016 Exhibition about Painting The Modern Garden: Monet to Matisse.

Joaquin Sorolla, Louis Comfort Tiffany, 1911. Oil on canvas, 150 x 225.5 cm.
On loan from the Hispanic Society of America, New York, NY. Photo
© Courtesy of The Hispanic Society of America, New York;
Back in 2016, we filled our Main Galleries with all the vibrant colours of the garden, as we traced its many forms through a period of great social change and innovation in the arts.
Discover the paintings of some of the most important artists of the early twentieth century exploring the theme, including Renoir, Cezanne, Pissarro, Manet, Sargent, Kandinsky, Van Gogh, Matisse, Klimt and Klee.

A 90 minute DOCUMENTARY was made about ‘Painting the Modern Garden: Monet to Matisse’
  • This video is available FOR FREE via the link above and YouTube (see small version below)
  • both sources of the video provide HD resolution if desired.
Originally released in cinemas, this ‘Exhibition on Screen’ film takes us back to our landmark exhibition, ‘Painting the Modern Garden: Monet to Matisse’, examining the role gardens played in the evolution of art from the early 1860s through to the 1920s.



One page on the RA website Video: Inside the Artists’ Gardens provides


Both are available at 1080 HD - but you have to choose this.
Using the work of Monet as a starting point, this landmark exhibition (30 Jan–20 April 2016) examines the role gardens played in the evolution of art from the early 1860s through to the 1920s. In this video series we take you into the gardens of artists such as Claude Monet, Pierre Bonnard and Emil Nolde.

The documentary video is also available via Seventh Art Productions

Sunday, November 03, 2019

American Impressionism and Portraiture at the Metropolitan Museum of Art

On my recent visit to New York, I visited The Metropolitan Museum of Art twice.

The first area I headed to (after the roof!) on the first day was the section devoted to American Impressionism. (The American Wing - North West corner of the Met - 2nd floor the 700s rooms).

Leaving the Met at the end of the day - on 15th October 2019 
The view of Lower Manhattan and the southern part of Central Park
from the terrace on the roof of the Metropolitan Museum of Art on Tuesday 15th October
It's a real revelation to see some of the paintings you've admired for so long in art books be revealed to you in their normal "home".  Seeing some of the exhibitions I found is not quite the same as seeing them in the Met!

On the whole I think I'd recommend a chronological approach to the Impressionist Galleries unless you are short of time - in which case head straight to the Impressionists and make sure you see some of Hudson School too.

I've uploaded some of my photos into American Impressionism and late 19th Century Portraiture at the Met - a public album on my Making A Mark Facebook Page

Rooms I recommend 


Gallery 771: Portraiture in the Grand Manner, 1880–1900
After the Civil War, the United States experienced profound changes, including rapid economic expansion and population growth, and emerged as a world power. Great wealth and a desire for conspicuous display characterized the period, which has been called the Gilded Age. American artists studied abroad, especially in Paris and Munich, and then competed with their European contemporaries for portrait commissions from American patrons. Both the patrons and painters were also aware of the mode of portraiture prevalent in Great Britain, which was at the apex of its imperial influence and prestige. John Singer Sargent, the quintessential American cosmopolite, was born in Italy, studied and worked in Paris, and operated thereafter with equal success in London, Boston, and New York. This gallery is a testament to the ability of Sargent and his contemporaries to capture on canvas the personalities of their intriguing acquaintances as well as their paying patrons.
Having met Claude Monet in Paris, probably in 1876, the expatriate John Singer Sargent was inspired to experiment with Impressionism. Throughout his successful career as a portraitist headquartered in London (as evidenced in 771), Sargent would always refresh his studio work by painting out of doors in both oils and watercolors. By 1887 several other American artists had been attracted to Giverny, on the Seine about fifty miles northwest of Paris, initially by its charm and then by the presence of Monet, who had settled in the village in May 1883 (Sargent also called on Monet there in the 1880s). Theodore Robinson became the leader of the American Giverny group, first visiting in 1885 and spending months there annually from 1887 until 1892. Back in the United States, Robinson and Childe Hassam shared their enthusiasm for French Impressionism with their American colleagues, including John H. Twachtman and J. Alden Weir, who became converts to the style.

Gallery 769: American Impressionism and Realism, 1880–1920

During the 1880s, after studying in Paris, American artists returned home and began to experiment with French Impressionism. Among the most celebrated of these artists were William Merritt Chase, who painted Impressionist scenes of New York’s public parks and of the seaside at Shinnecock, Long Island, and Childe Hassam, who became the leading Impressionist chronicler of New York and New England.Rejecting the prevailing trends of academism and Impressionism, a modern, rugged realism emerged in the early twentieth century in the work of such artists as Rockwell Kent and George Bellows. Their canvases portray the emergence of the modern city, technology, and engineering prowess while also celebrating the vitality of nature in the American landscape.

Gallery 768: Images of Women, 1880–1910

Around 1900, refined women were favored subjects of many American artists. The works in this gallery reflect the contemporary notion that a woman's proper sphere was within a harmonious interior, absorbed in cultivated pastimes, or in a sheltered outdoor setting, engaged in leisure activities. These works also suggest the wide range of styles that artists enlisted to depict their genteel subjects. Women artists were especially successful in describing women's activities at first hand. Among them were the painter, pastellist, and printmaker Mary Cassatt, who settled in Paris in 1874, responded to the influence of the French Impressionists, and became the only American to participate in their exhibitions; and the sculptor Bessie Potter Vonnoh, who worked principally in New York and produced statuettes of women in conventional roles.

Artists whose work is included


The links in their names are to their entry on the Heilbrunn Timeline of Art History on the Met website in terms of both a bio and artwork

Mary Cassatt (1844 - 1926) 

the American Artist and Impressionist painter and printmaker who was a friend of the French Impressionists
portrait paintings by Mary Cassatt (left and right)

Childe Hassam (1859-1935) 

- a pioneer of American Impressionism. Did you know that, after John Singer Sargent and Mary Cassatt, there are more paintings, drawings and prints by Childe Hassam in the Metropolitan Museum of Art than any other American Impressionist painter?

Crop of Childe Hassam's painting of Celia Thaxter's garden on the Isles of Shoals in Maine.
This painting is one of the finest of a series of works that Hassam made during summers in the 1890s on Appledore Island, one of the Isles of Shoals, which lie ten miles east of Portsmouth, New Hampshire. This series portrays the sumptuous wildflower garden cultivated by his friend, poet Celia Thaxter, a garden that provided a marvelous contrast to the rugged terrain of the island itself. In this painting, vibrant red poppies entangled in lush green foliage introduce a view of bleached Babb's Rock. The painting shows Hassam at the height of his creativity as an American Impressionist.
SEE ALSO the website I created ages ago About Childe Hassam - American Impressionist Painter

John Singer Sargent (1856–1925)


- the noted American painter, draftsman, portraitist, muralist and watercolorist.
Portraits of society women by John Singer Sargent
Paintings by John Singer Sargent


William Merritt Chase (1849–1916)

Paintings by William Merrit Chase

Maurice Prendergast (1858-1924)

Central Park by Maurice Prendergast

I'm finishing with Central Park because a combination of lack of time and needing to pace myself so I could stay on my feet meant that Central Park is something I have looked at - but not yet visited.

However I was very impressed with New York and I plan to go back.....

Tuesday, March 06, 2018

San Geremia by John Singer Sargent

This is a painting of Venice by John Singer Sargent which I saw at the preview exhibition of the Rockefeller Collection Auction at Christies in London (until 8 March). I highly recommend a visit!

It's worth taking a close look at how Singer Sargent conveys people in this paintings of Venice.

So here's the painting - and the details.

San Geremia (1913) by John Singer Sargent
Details of the painting
This is a side long look at the bottom left corner where the three gondolas are the foreground one is moving away from our view towards the left. The two behind are moving parallel towards the right.

The painting photographed from the side - focusing on the gondolas

Then close ups of what the brush work is actually doing to convey both gondola and the people in it

This is the left hand gondola which we see moving away from our perspective

just a very few strokes to indicate both gondola and gondalier
....and these are two parallel running gondolas moving left to right

suddenly the gondolas which are so clear at 3-4 feet have started to disappear at 3-4 inches
Interesting isn't it?

Monday, February 26, 2018

Rockefeller Collection on public show at Christies London

Once in a while, a really significant collection of art and artifacts rolls into town - and it's possible to see the works on exhibition prior to a grand auction - and bid on them if you feel so inclined!

The Collection of Peggy and David Rockefeller is being auctioned in New York in at Christie’s Rockefeller Center in New York in late spring. Prior to this auction, the most valuable collection ever previously offered at auction was the Collection Yves Saint Laurent et Pierre Bergé in 2009 at Christie’s Paris which achieved more than US$400 million / € 373,935,500

CLAUDE MONET (1840–1926)
Nymphéas en fleur
© Christie’s Images Ltd
oil on canvas 63 in. x 71 in. (160 x 178 cm.)
Painted circa 1914-1917

This is the largest auction ever entirely dedicated to raising funds for philanthropic causes. (see note at end)
“Eventually all these objects which have brought so much pleasure to Peggy and me will go out into the world and will again be available to other caretakers who, hopefully, will derive the same satisfaction and joy from them as we have over these past several decades.” David Rockefeller
Prior to this it is touring the world and the preview dates for the exhibition of works from the collection at Christies Galleries are as follows:
  • London 21 February – 8 March 2018
  • Beijing 6 – 7 April 2018
  • Paris 16 – 21 April 2018
  • Los Angeles 6 – 12 April 2018, and 
  • Shanghai 10 – 11 April 2018
The auction sale will take place in the Spring (dates to be announced) at 20 Rockefella Plaza in New York.  It's expected that the sale will offer 1500 works overall split across auctions taking place in New York during the week of May 7.

Important pieces include:
  • Claude Monet's Nympheas en fleur (c.1914-1917) - see above
  • what will be the most valuable Matisse painting ever offered at auction to date
  • a rather lovely Rose Period Picasso which originally came from the Gertrude Stein Collection
The extended public exhibition will feature significant works by Pablo Picasso, Henri Matisse, Claude Monet, Georges Seurat, Juan Gris, Paul Signac, Edouard Manet, Paul Gauguin, Jean Baptiste Camille Corot, and Edward Hopper, among others

Below you can see the images in different contexts and learn something of how they were acquired.

Sunday, October 01, 2017

Sargent: The Watercolours - a review

You have one week left to visit the Sargent: The Watercolours exhibition at the Dulwich Picture Gallery in South London.

This is the first major UK exhibition of watercolours by the Anglo-American artist, John Singer Sargent (1856-1925), since 1918.

I've been going to go to this exhibition all summer and for one reason and another didn't go until last Friday.

I now wish I'd gone earlier as I greatly enjoyed it - and would have paid a second visit.

Instead I made made a lot of notes about it! This post:
  • tells you how the exhibition is organised 
  • shares images of some of the watercolour paintings in the exhibitions
  • plus videos highlighting each section
  • summarises my notes of aspects of his watercolour practice that I noticed
At the end if references various other blog posts about Sargent on this blog.  I refer to John Singer Sargent as JSS below as I've been doing this for years!

I'd recommend this exhibition to those who select work for exhibitions of "watercolours" as a reminder of what watercolour is supposed to look like when handled by an expert artist. (see recent posts about What does "watercolour" mean to you? and 10 Best Paintings in the Sunday Times Watercolour Exhibition) plus my very long blog post about the topic of What is watercolour? back in 2009)

Sargent: The Watercolours

The exhibition displays works from 30 lenders - including a number of works in private collections that I've never ever seen before in exhibitions or in books.  Lenders include:
  • UK: Tate, The British Museum, The Fitzwilliam, The Imperial War Museum and The Ashmolean, alongside works rarely seen from numerous private collections. 
  • Europe: Museu de Montserrat, Abadia de Montserrat, Barcelona; the Museu Calouste Gulbenkian, Lisbon and the Petit Palais, Musee de Beaux-Arts de la Ville de Paris.
John Singer Sargent, Loggia, View at the Generalife, c. 1912, 
watercolour on paper, over preliminary pencil, 39.4 x 53.2 cm, 
Aberdeen Art Gallery & Museums Collections. 
Purchased in 1927, half the auction price met by Sir James Murray 
The exhibition is divided into sections which are:
  • Fragments and close-ups 
  • Cities - 
  • Landscapes
  • Figures
Online booking for viewing the exhibition means a number of timed slots for visiting the exhibition have already sold out. However there are a limited number of walk-up tickets will be available each day - but you do need to arrive early to avoid disappointment.

Catalogue cover
You can park in Gallery Road where there are no parking restrictions.

The catalogue


For those unable to get to see the exhibition you can see ALL the paintings (but just a few of the photographs) in the exhibition in the catalogue Sargent: The WatercoloursThere are lots available still in the Gallery shop but for some reason it's not listed in their online shop.

[This is the links for readers living in the USA - Sargent: The Watercolours]

Summary of my notes

Most of the watercolours are from a period after 1900 when JSS tended to take a couple of trips a year to Europe - typically the Alps and southern Europe and always Venice every year - for plein air painting and sketching with family and friends.

Sargent painting a watercolour in the Simplon Pass, c. 1910-11,
Unknown photographer 
Sargent Archive, Museum of Fine Arts, Boston 

Fragments and close-ups 



  • He obviously like architecture - but prefers to sketch sections of it. My first note says "pillars and pedestals" - because there's a lot of them!  

Friday, September 29, 2017

Lachlan Goudie on "Sargent: The Watercolours"

Guess where I am this afternoon?

Down at Dulwich Picture Gallery viewing Sargent: The Watercolours. It's one of those exhibitions where I've been thinking I've got ages left and then woke up to the fact I haven't. (I bought the book months before it opened!)

So, despite a very painful foot, I'm driving down to Dulwich (the joys of parking in Gallery Road!)

Here's Lachlan Goudie's take on Sargent as a watercolourist - painting for himself - and the exhibition - plus ratings by various newspapers popping up from time to time


If you want to see it you've not got much time left - just over a week in fact. It finishes on 8th October (and is closed on 2nd October). Plus lots of time slots are already sold out.

Choose your date and time and book tickets and print them off once you've received your email.

The "tickets" were shambolic on my iMac and better on my iPhone! I gather they;re getting a new ticketing app. Let's hope it's one which allows me to store tickets on my iPhone Wallet!

Saturday, April 11, 2015

Advice on Painting from John Singer Sargent

Thomas Jefferson Kitts has done us all a favour and created a digital version - and an ebook in pdf format - of two second-hand accounts of Sargent's teaching and painting methods. One of these is as recounted by the Honorable Evan Charteris, K.C. in his 1927 biographical book, "Sargent" (now out of print).

I've previously read accounts of how Sargent painted - based on those who observed and recorded what he said. However it's nice to be able to read it in an attractive format - albeit online

The difference with this version is that Kitts has added his own annotations - in red ink - to the original text and has also presented it rather well in pdf format.

You can download the pdf file for Advice on Painting from John Singer Sargent from Google Drive


If you prefer you can go to the original digital archive of the book from the Internet Archive - see
John Sargent by Charteris, Evan.
People always think the subject of this painting is John Singer Sargent - but it's not.

The painting is by Sargent - but it's called Reconnoitring and it's a portrait of the painter Ambrogio Raffele. It's currently on loan from Galleria d'Arte Moderna di Palazzo Pitti, Piazza Pitti 1 50125 Firenze, Italy to the National Portrait Gallery where you can see it in the Sargent: Portraits of Artists and Friends exhibition - on until 25 May 2015.

Thursday, February 12, 2015

10 great reasons to see 'Sargent: Portraits of Artists and Friends' at the NPG

Book now to see the Sargent: Portraits of Artists and Friends exhibition at the National Portrait Gallery - it's going to be a blockbuster! It opens today and continues until 25 May 2015

In my view this is up there with the very top exhibitions I've ever seen at the National Portrait Gallery.

Importantly for American readers, this is also an exhibition which will be seen in the USA.

The exhibition has been developed in a major collaboration with the Metropolitan Museum in New York together with prominent museums all over the world.

Consequently the Sargent exhibition travels to New York and opens at the Met. Museum on 30th June and continues until 4th October 2015. It's evident from the catalogue that the paintings won't be exactly the same - but a lot of them will be.

I viewed the exhibition twice yesterday - and much preferred the beginning and end of the morning preview when there were not a lot of people around compared to the afternoon preview for Friends which was absolutely heaving with people!

My main recommendations are:
  • Do go and see it - you won't regret it if you enjoy painting and portraiture
  • Book a ticket fast if you want a choice of dates - this one is going to be very popular and I understand admissions will be time slotted to maintain some control over numbers in the gallery.
  • if you live in London try and visit on a Monday morning (the least busy) or at least in the morning just after the gallery opens
  • if you live outside London try and avoid weekends which I expect will be the time the exhibition will get the most visitors.
Sargent self-portrait plus paintings of fellow artists and friends
left to right
Dennis Miller Bunker painting at Calcot (1888)
- with Sargent's younger sister Violet sitting sketching on the river bank
Claude Monet, painting at the edge of a wood (c.1885) - Monet and Sargent became good friends
An Out of Doors Study (1889) Sargent's friend Paul Hellau and his young wife Alice
Self Portrait (1886) - part of the Alexander MacDonald collection at Aberdeen art Gallery

Reasons to see this exhibition

Links in the paintings below are to where the painting can be seen online.

Here are some reasons to go and see the Sargent exhibition at the National Portrait Gallery.

Tuesday, September 30, 2014

Major new Singer Sargent exhibition announced - in London and New York

Sargent: Portraits of Artists and Friends will be on display next year at the National Portrait Gallery in London and the Metropolitan Museum of Art in New York. I'm sure this will delight many fans of portraiture!

This morning I went to the launch event for this new exhibition which has been five years in the making.  The exhibition is going to be a unique perspective of some 70 paintings and works on paper by John Singer Sargent - one of the greatest portrait painters of all time.

The focus will be on portraits of the artists, writers, actors, dancers, and musicians of his time.  It will review the relationship he had as a painter and an individual with a number of those who were involved with contemporary developments in the arts, music, literature and theatre. It will reveal the depth of his appreciation of culture and his close friendships with many of the leading artists, actors and writers of the time - including Claude Monet, Auguste Rodin, Gabriel Fauré and Robert Louis Stevenson.

Dates for the exhibition - and your diary - are:
  • National Portrait Gallery: 12 February - 25 May 2015
  • Metropolitan Museum of Art: 29 June - 4 October 2015
The exhibition has been extremely fortunate in the loans promised for the exhibition - many of which come from private collections as well as the permanent collections of some of the world's great art galleries. His great nephew Richard Ormond CBE, co-author of the John Singer Sargent catalogue raisonné, is curator of the exhibition in London - at the Gallery where he used to be The Keeper and Deputy Director. The recently retired Curator of American paintings and sculpture will mastermind the exhibition at the Metropolitan Museum of Art in New York.

The original idea behind the exhibition was to provide a different perspective on Sargent the man and to reveal a more thoughtful person behind the portraits that he produced.

There has been a suspicion voiced by some, notably Roger Fry, that Sargent was a superficial painter. There is an explanation of how this view came to be voiced (it relates to a Sargent comment on Fry's exhibition of Post Impressionist paintings) on Natasha Wallace's excellent John Singer Sargent website

An attempt was then made to "airbrush him" out of the development of modern art said Ormond this morning. He also commented that this was despite the fact that some of his later paintings not being unlike those of Cezanne.

He told us that Sargent was a very cultivated man who was immersed in the arts of his time. He was widely read, particularly French literature, and was also deeply musical and an enthusiastic promoter of young musicians. He was also a friend to a very wide range of artists, writers, actors and musicians.

His paintings of his friends are also more intimate and informal unlike the grandest piece portraits he executed for commissions. He could also afford to take a more experimental approach in terms of both composition and application of paint when it came to painting friends.

Sargent was a child of American ex pats. He was born in Florence and lived his life in Europe, visiting most of the major art galleries and art collections while still a child.  He was recognised to be very talented in relation to art while still a child and was sent to study in Paris. Subsequently he became one of the most popular portrait artists in the late nineteenth and early twentieth centuries and was regularly commissioned to produce portraits. So much so that by 1907, at the age of 50, he gave up portraiture for the paintings and mural work which he wanted to do. In part because he'd had enough of paintings with "an anxious relative hanging on every brush mark".

His paintings of artists and friends were however another form of portraiture and he continued to paint them long after he gave up portrait commissions. These are more informal and are often painted plein air.

The exhibition will have five sections (and I hope I've got these right below). These focus on:
  • Living, studying and working in Paris 1874-1888
  • Brief stays in America in 1888 - where he became an established portrait painter
  • and Broadway, Worcestershire in 1888 where he lived and worked alongside a group of Anglo Americans
  • Living and working in London 1889-1913
  • Painting trips with friends 1899-1914

Paris

The exhibition will include his fabulous portrait of his teacher Carolus Duran. This played an enormously important part of the development of his career as a portrait painter after it was exhibited at the Paris salon and praised.

Broadway and painting trips with friends

The Fountain, Villa Torlonia, Frascati, Italy 
by John Singer Sargent, 1907
Copyright: Art Institute of Chicago
Two sections of the exhibition will focus on the portraits and plein air figure groups painted during the time he spent living in Broadway, in Worcestershire and those he painted after 1900 while travelling in Europe during summer and autumns holidays from his portrait commissions.

Typically these holidays took him to Venice, the Alps and the southern Mediterranean countries such as Greece and particularly Corfu.

On the right is a painting which will be in the exhibition of a couple who often focused in his paintings of artists and friends. Close up visitors to the exhibition will be able to see how Sargent painted with dazzling speed while painting plain air.

This is a link to a photo of Sargent painting at Broadway.

London

Portrait of Henry James 1913
Drawing of Henry James
by John Singer Sargent
Wikimedia Commons
Paintings in London will include his portrait of his friend the author Henry James which forms part of the NPG Collection.

James was another American living in London. He was a major sponsor of Singer Sargent when he came to live in London - and indeed they lived near one another.  (Sargent lived at 31 Tite Street in Chelsea  and had his studio at 33 Tite Street)

I discovered from Richard in fiction both entry James? Ormond that there is a book by a lady called Adele tanner about how Sargent appears singer Sargent and James were also both Americans who ere in effect outsiders looking in on the social scene in London. They we very close friends and ,iced near to one another in Chelsea.

Key paintings in the exhibition will include two paintings of his friend the Scottish novelist Robert Louis Stevenson (author of Treasure Island and The Strange Case of Dr. Jekyll and Mr Hyde) executed at a house in Bournemouth.

Robert Louis Stevenson and His Wife (1885) by John Singer Sargent
Collection: Crystal Bridges Museum of American Art, Bentonville, Arkansas, USA
These will be displayed together for the very first time since they were painted in the 1880s. The inclusion of these paintings will be a particular pleasure for Sandy Nairne, Director of the NPG who is a big fan of the painting of Stevenson and his wife.

Sadly the emphasis is going to be more on his oil paintings rather than his watercolours which I am a huge fan of. Also there are no plans at present to exhibit any of his sketchbooks which I think is a pity. I did however suggest that it would be really wonderful to be able to see at least one of his sketchbooks in the exhibition especially as the focus is on the intimate side of Sargent and viewing sketchbooks generates a level of intimacy and engagement with the artist like nothing else I know.

Nevertheless I very much recommend this as an exhibition to see in 2015 by hook or by crook! I'm expecting it to be very popular.

Note: In 2007 I did a blog project about John Singer Sargent. This is a link to all the posts on this blog which reference John Singer Sargent in some way

Tuesday, May 27, 2014

OASC for Metropolitan Museum of Art Images

I do like to look at images in high resolution - there's an amazing difference between high resolution images online and those you see in books or low resolution images online.

You can now access some 400,000 high resolution images belonging to the Metropolitan Museum of Art through their Open Access for Scholarly Content (OASC) initiative.

That basically means they are for educational use.

Below you can find out more about how to access the images and what can be accessed plus a neat reminder of what size an image needs to be to print it.

In keeping with the educational topic, I'm highlighting images relating to topics which have receeived in-depth study on this block - drawing, botanical art, John Singer Sargent and the ukiyo-e prints of Hokusai

John Singer Sargent
(American, Florence 1856–1925 London)
I love the scribble he uses for the leaves and flowers 
and wonderful to see a drawing associated with such a famous painting

What's OASC?

Lots of museums have an arrangement whereby high resolution images can be accessed and very often an image is charged - and the Met was one of the museums who did that.

Latterly there's been a move to make high res. images available for educational/non-commercial use.  Partly I guess because it's now relatively easy to spot the use of an image online (see How to do a reverse image search) so identifying commercial use becomes that much easier.

Here's the arrangements which have been developed by the Met - and what it replaced.
OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions.
The director commented
“Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.”
 Now all we need to see is more art galleries and museums following the trend!

Violets, Primroses and Other Spring Flowers
Kubo Shunman

Part of an album of woodblock prints (surimono); ink and color on paper
(Japanese, 1757–1820)
Quite unlike botanical art we're used to seeing from Japanese artists


What's included?

This is the link to the Collection Online.
(OASC) images associated with these artworks can be downloaded for license- and cost-free scholarly and academic publication, according to the Terms and Conditions.
The FAQs page provides a definition of what can be accessed via this new initiative.  It certainly isn't everything that can be seen on the website.
Works that are covered by the new policy are identified on the Museum’s website (http://www.metmuseum.org/collections) with the acronym OASC. (Certain works are not available through the initiative for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than the Metropolitan Museum; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.)
Togetsu Bridge at Arashiyama in Yamashiro,
from the series Remarkable Views of Bridges in Various Provinces (Shokoku meikyō kiran)

Katsushika Hokusai 
(Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo))
one of my favourite artists for landscapes - Hokusai has a lot to teach about design and framing a landscape

What's scholarly?


There's a debate over on Hyperallergic about the copyright restriction which they claim over the images which have been released - see Metropolitan Museum of Art Releases 400,000 Images, with Restriction

Personally I find it most helpful to start with the Met's definition of what is NOT scholarly use
What is not scholarly content?Commercial use, publication, or distribution in any media or format is not scholarly content. Some examples include: commercially published general-interest books in print or electronic media; all products, merchandise, (including posters, calendars, notecards, datebooks, mugs, etc.), advertisements, or promotional materials for any services or products in any media format; feature films or documentaries funded by commercial organizations.
Essentially it means for non-commercial and educational use. I'm taking the view that this blog is very much focused on educational content for the development of artists. Plus I only ever publish online and all images become reduced  to low res. to make them compatible for a speedy load.

Plus you need to look for the icon below images in the Collection section of the website to identify images that are part of the OASC initiative.

The problem is that the Met provides a number of different criteria for how you can 'slice and dice' its collection but OASC is not one of them.  So I went for an artist that I thought might be accessible - John Singer Sargent - only to find no OASC icon.

I then tried a search using "john singer sargent oasc" - but that produced a "no records" result.

Bottom line you just have to persevere and eventually you start finding images with the OASC icon.


Determining the suitability of a digital image for reproduction in a print publication

This is a topic which has been occupying me much of late as I work through my archive of past images finding ones for inclusion in my book.

As a result I found the guidance offered by the Met to be invaluable. I'm sure others will feel likewise. It;'s not that this is original so much as it's once of the more succinct explanations I;ve come acrosss.

When determining the suitability of a digital image for reproduction in a print publication, there are several key factors to consider: resolution, pixel dimensions, and the intended size of the printed output. The following table provides some typical output sizes and the recommended dimensions for a publication-ready image at 150 ppi and 300 ppi—the most common resolutions for images available from the Museum's website.
Print Output Size
(inches)
      Resolution      
Pixel Dimensions
(minimum)
   
 8 x 10300 (ppi) 2400 x 3000
 150 (ppi) 1200 x 1500
 4 x 6 300 (ppi) 1200 x 1800
150 (ppi)600 x 900

Though some images available via Open Access for Scholarly Content (OASC) may not meet the above requirements, this does not necessarily preclude them from publication at smaller sizes. A useful formula in determining the maximum print size of any digital image is as follows:
Digital Image Print Size
Note that image resolution is only a factor in determining print output. For digital purposes, the pixel dimensions of an image are the only measurements that determine display size.


Friday, November 09, 2012

Who painted this? #3

This week's "Who painted this?" is influenced by the announcement of The Derwent Art Prize - as this work would qualify - if the painter were still alive and this work had been produced in the last three years!

Who Painted This #3
If you want to play the game: the rules are:
  1. You need to leave your answer as a comment on this blog.  Howls of frustration can also be left while you try and work it out.......
  2. In your comment, you must tell me ALL of the following:
    • the title of the artwork
    • the name of the artist
    • the date it was created
    • the media used
    • where it lives now
    • how you know all this eg how did you do your search (note 3 below)
  3. This is about using brains not technology - so please do not "cheat".
    • PLEASE do NOT use any of the "image matching" technology which exists (eg Chrome or Tineye) - that's just plain lazy! My suspicions will be raised by those who appear to know the answer a bit too quickly!
    • You may use Google or any other search engine to search on WORDS in databases of images. 
  4. If you're not getting anywhere in the first 24 hours I'll leave a clue as a comment on the post.
The person who in my judgement is the first person to get to the answer by fair means will get a mention in my very popular weekly blog post - along with a link to their website or blog or both.

NEW THIS WEEK:  Please note I'll be reading but won't be publishing any of the comments until somebody gets it - unless it's a howl and/or the wrong answer!

Who painted this? #2 - The Answer

The answer is:
  • the title of the artwork - Gourds (click the link to see a larger version)
  • the name of the artist - John Singer Sargent
  • the date it was created - 1908
  • the media used - Transparent and opaque watercolor over graphite on white, thick, rough-textured, wove paper (13 13/16 x 19 11/16 in. / 35.1 x 50.0 cm)
  • where it lives now - Brooklyn Museum, New York
Gourds, one of over forty Sargent watercolors in the Museum's collection, demonstrates his virtuosity. In this image of the lush vegetation he encountered on the Mediterranean island of Majorca, Sargent combined vivid colors, bravura brushwork, and a range of watercolor techniques (including transparent and opaque washes, impasto touches, and leaving areas of the paper blank) to create a composition of stunning immediacy and visual richness.
The person who complied with ALL the rules was David Teter (Avid Art).

It would have been Robyn Sinclair (Have Dogs, Will Travel) if she'd just remembered to say where it is now! ;)

I do love the way that Blogger lines up all your answers in date order so I don't have any problem spotting who's the winner.

Thursday, May 19, 2011

Review: 'Watercolour' exhibition at Tate Britain

After JMW Turner - The Blue Rigi
coloured pencils in Moleskine sketchbook
and finally - the review of the Watercolour exhibition!

Oddly enough Turner really did finish my sketchbook as one of the last sketches I did on the afternoon before I lost it was one of the Blue Rigi (see above).  It's the one which was used by the Tate as the main motif for the exhibition.

The strapline to the exhibition is
Watercolour at Tate Britain invites you to challenge your preconceptions of what watercolour is.
The introduction goes on
The most ambitious exhibition about watercolour ever to be staged, with works spanning 800 years, this boundary-breaking survey celebrates the full variety of ways watercolour has been used. From manuscripts, miniatures and maps through to works showing the expressive visual splendour of foreign landscapes, watercolour has always played a part in British Art.
I don't know whether this has ever been attempted by any other museum.  Maybe not?

I think different people will respond to the Watercolour exhibition in different ways.  It's obviously a huge topic and I appreciate the effort that has been employed to try and reflect both the history of watercolour painting and the diversity of artists who have used water to make paint.  It pleased me and disappointed me.