Sargent Season Begins

Currently sitting at one of those plastic desk tables squished next to strangers fighting for charging ports at the Logan Airport. Why? Well, I am about to board my flight for London!! This summer, I will be taking courses through Sotheby’s Curator’s Academy, and more importantly to you all, writing a segment for my blog. One of my absolute favorite artists throughout my entire life has been the renowned John Singer Sargent. His work is quite literally awe inspiring, his subjects and technique impeccable, and his identity engaging. An American in a European art world sounds quite familiar, doesn’t it? If you are at all interested in Mr. Sargent, London, visual arts, or even just wanting someone to tell you what to do, you have come to the right place. For the next four weeks, I’ve given myself a project: find every John Singer Sargent painting on public display in the city — and a few that aren’t. Some might call this segment a kind of “artist’s guide to the city.”

Here’s the thing about Sargent: reproductions do him absolutely no favors. You look at a photo of one of his portraits online and think, sure, fine, a fancy rich person. Then, you stand in front of the actual work and realize the true power behind his brushstrokes. Somehow he works loose and exact at the same time, like he painted fast enough that you can feel his hand moving but precise enough that you’d recognize the sitter in passing. His work is some of my favorites, specifically his portrait of Ms. Isabella Stewart Gardner. 

Why Sargent? Well, for the purpose of this project there’s the matter of who he was. Born to American parents, raised all over Europe, never really “from” anywhere, and spent his whole career a little too good at portraiture for the art establishment to know quite what to do with him. Too polished for the avant-garde, too European for the Americans who wanted him to paint like an American, too talented to ignore. He existed in the gaps which made him a relatable human being rather than some famous artist. And that’s exactly what makes him the perfect guide for this project. Someone who never fit neatly into one box is probably the right person to show you a city that doesn’t fit neatly into one either.

So, let’s talk about the plan. London, conveniently, has an absurd concentration of his work, and I’ve mapped out a route that’s (kind of) geographic. The Trafalgar Square cluster first, then Tate Britain, the V&A and a few other stops I’m still finalizing. I’m also, and I’m saying this quietly so as not to jinx it, in the middle of reaching out to a couple of private collections that aren’t open to the public. No promises. But wouldn’t that be so amazing?!

Each stop gets its own post. Expect opinions, probably some tangents, and if everything goes to plan, a London guide unlike any other!

Okay, that’s my boarding call. Be back soon. Next time, from London.