1856-1925 John Singer Sargent Locations John Singer Sargent (January 12, 1856 ?C April 14, 1925) was the most successful portrait painter of his era. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Before Sargent??s birth, his father FitzWilliam was an eye surgeon at the Wills Hospital in Philadelphia. After his older sister died at the age of two, his mother Mary (n??e Singer) suffered a mental collapse and the couple decided to go abroad to recover. They remained nomadic ex-patriates for the rest of their lives. Though based in Paris, Sargent??s parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While she was pregnant, they stopped in Florence, Italy because of a cholera epidemic, and there Sargent was born 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 entreaties to remain abroad. They lived modestly on a small inheritance and savings, living an isolated life with their children and generally avoiding society and other Americans except for friends in the art world. Four more children were born abroad of whom two lived past childhood. Though 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.?? Contrary to his father, his mother was quite convinced that traveling around Europe, visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to give him formal schooling failed, owning mostly to their itinerant life. She was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Young Sargent worked with care on his drawings, and he enthusiastically copied images from the Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son??s interest in ships and the sea might lead him toward a naval career. 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 age thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Though his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in French, Italian, and German. At seventeen, Sargent was described as ??willful, curious, determined and strong?? (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, ??I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michael Angelo and Titian.??  Related Paintings of John Singer Sargent :. | Portrait of Almina Daughter of Asher Wertheimer | Two Girl with Parasols at Fladbury | Gondolier s Siesta | Paul Helleu Sketching With his Wife | Mrs.Gardner in White (mk18) |
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George Catlin
1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin??s base of operations for five trips he took between 1830 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings ??salon style????side by side and one above another??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection. This second collection of paintings is known as the "Cartoon Collection" since the works are based on the outlines he drew of the works from the 1830s. In 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian ??Castle.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.
James Northcote
RA (22 October 1746 - 13 July 1831), was an English painter was born at Plymouth, and was apprenticed to his father, a poor watchmaker. In his spare time, he drew and painted. In 1769 he left his father and set up as a portrait painter. Four years later he went to London and was admitted as a pupil into the studio and house of Sir Joshua Reynolds. At the same time he attended the Royal Academy schools. In 1775 he left Reynolds, and about two years later, having made some money by portrait painting back in Devon, he went to study in Italy. On his return to England, three years later, he revisited his native county, then settled in London, where John Opie and Henry Fuseli were his rivals. He was elected associate of the Academy in 1786, and full academician in the following spring. The "Young Princes murdered in the Tower," his first important work on a historical subject, dates from 1786, and it was followed by the "Burial of the Princes in the Tower". Both paintings, along with seven others, were intended for Boydell's Shakespeare Gallery. The "Death of Wat Tyler", now in the Guildhall, London, was exhibited in 1787; and shortly afterwards Northcote began a set of ten subjects, entitled "The Modest Girl and the Wanton", which were completed and engraved in 1796. Among the productions of Northcote's later years are the "Entombment" and the "Agony in the Garden," besides many portraits, and several animal subjects, such as "Leopards", "Dog and Heron", and "Lion".
Ludwig Passini
Austrian, 1832-1903