homepage travelogue bottom back to last page Clicking on any picture enlarges and scales it to 6:4 it in a new window
I have seen a line of taxis, never a line of horse-drawn cabs. See the gaggle of drivers with their great coats conversing? Most of the people traversing the street seem wealthy, except for the man and girl pulling the wagon. They have nothing to protect them from the rain. Do you feel sorry for their plight?
John Singer Sargent painted at least two portraits of Louise Escudier. He may have met her through her husband, Paul, a lawyer who sometimes worked on behalf of artists. This picture grew out of a series of freely rendered views of women in darkened interiors that the artist produced in Venice between 1880 and 1882. It combines the Impressionists' loose brushwork with a heightened chiaroscuro drawn from Spanish Old Masters such as Diego Vekizquez. In such early paintings, Sargent deliberately undercut traditional portrait conventions, prioritizing dramatic effects of light and dark and the creation of radically asymmetrical, yet balanced compositions over clear depictions of his sitters. These portraits helped to establish Sargent's reputation in Paris as an exciting and original painter.
Mrs.George Swinton epitomizes the painterly virtuosity that made John Singer Sargent one of the most favored portraitists of fashionable Europeans and Americans in the late 19th century. Extravagant color and brushwork were central to Sargent's success, as was his ability to present an image of his sitter that adhered to social standards. In Elizabeth "Elsie" Swinton's case, he accentuated her regal bearing and feminine dress. She was also known for her musical talents; at the time her portrait vas executed, she was recognized as an amateur singer and later began performing professionally. Swinton's pose indicates both the poise of a performer and the countenance of a fashionable, worldly woman.
In this work, Mary Cassatt addressed the t hctne for which she is best known - women and children - while also experimenting with elements derived from Japanese art. In Cassatt's painting, the mother's encircling arms and gentle touch convey an overall feeling of protection and tenderness.
Best known for his lavishly painted society portraits, John Singer Sargent here commemorated a painting excursion he and his close friends Jane and Wilfrid von Glehn took to the famed Villa Torlonia outside of Rome. After 1906 Sargent began to produce fewer commissioned portraits, preferring instead to paint works that combined informal, intimate portraiture with light-saturated landscapes. Although it appears to be a spontaneous celebration of open-air painting, this work was completed over several days and was frequently interrupted by rain. Thus, Sargent employed an approach similar to that of his indoor portraits; however, his use of rich impressionistic effects. such as the play of sunlight on a variety of surfaces, distinguishes this work from his studio paintings.
In this vivid painting, William Glackens portrayed the members of his circle at their favorite meeting place, the restaurant Mouquin's in New York City. Jeanne Mouquin, the proprietor's wife, shares a drink with James B. Moore, a wealthy playboy and restaurateur, while the artist's wife, Edith, and art critic Charles Fitzgerald are reflected in the mirror behind them. Jeanne Mouquin is the focal point of the composition; not only did Glackens paint her outfit with eye-catching brushwork, but he also used the mystery of her intent gaze to imbue the work with tension. By combining portraiture and genre painting, the artist avoided clear narrative conventions and helped usher in a mode of painting suited to the uncertainties of modern urban life. However, the unusually candid depiction of drinking was criticized for its perceived impropriety.
On February 13, 1914 a major blizzard hit New York City, inspiring the artist to paint Love of Winter. In this work, he used bright reds, yellows, and greens to intensify the winter scene and broad, slashing brushstrokes to convey movement, wind, and speed. The energetic group of skaters and on- lookers, composed of people of a range of ages and social classes, reflects the diversity of public parks and leisure activities in early-20th-century New York City. I just love how the whole crowd leans forward en-masse as they skate.
I just liked this crazy design -
The grandeur of Niagara Falls inspired 19th-century artists to celebrate the sublime power of the American landscape. Thomas Cole, the patriarch of the Hudson River School of landscape painting, was already well known for his depictions of untamed wilderness when he painted Distant View of Niagara Falls in 1830. The potency of Cole's image lies 1n the depiction of unspoiled American nature. The painting bears little resemblance to the landscape surrounding the falls at the time, which was marked by factories, scenic overlooks, and hotels that accommodated the multitude of tourists that visited. Instead of realistically representing this scene, Cole presented a romanticized view of Niagara Falls that mourns the vanishing American wilderness.
I would humbly ask the reader to look at my photography of Niagara Falls. I think I have some very professional photos: Niagara Falls There are multiple pages, so poke around a bit!
The search for picturesque subject matter took numerous American artists to rural regions of France, England, and the Netherlands during the last quarter of the i9th century. Originally trained as a lawyer, George Hitchcock settled in Egmond, Holland, in 1884 after spending brief periods studying art in London, Paris, and The Hague. During the nearly 20 years he lived in Egmond, Hitchcock specialized in scenes featuring women juxtaposed with voluptuous, blooming flowers, and he earned a reputation as a daring colorist.
I just wonder if this poor girl could make enough money selling to the scattered houses. Try the city folk, my enterprising young friend.
You don't get to see many painting of winter, let alone a cityscape. I like how the young woman has hitched up her dress slightly to avoid having the hem drag in the snow.