John Singer Sargent's Cosmopolitan Aesthetics

355 Pages·2015·2.5 MB·English

!
!
!
‘Curiouser
 and
 Curiouser':
 John
 Singer
 Sargent’s

Cosmopolitan
 Aesthetics

!
!
2
 Volumes

!
Volume
 I
 of
 II

!
!
!
Elizabeth
 Susannah
 Renes

!
!
!
Ph.D.

!
!
!
UNIVERSITY
 OF
 YORK

!
!
!
HISTORY
 OF
 ART

!
!
!
January
 2015
Abstract

!
In
 the
 introduction
 to
 her
 For
 Maurice:
 Five
 Unlikely
 Stories
 (1927),
 Vernon

Lee
 recounts
 her
 childhood
 wonderings
 in
 Italy
 with
 a
 young
 John
 Singer
 Sargent,

remarking:
 ‘…mysterious,
 uncanny,
 a
 wizard,
 serpent,
 sphinx;
 strange,
 weird,
 curious.

Such,
 at
 all
 events,
 were
 the
 adjectives,
 the
 comparisons,
 with
 which
 we
 capped

each
 other,
 my
 friend
 John
 and
 I…
 .’1
 Curious
 is,
 indeed,
 a
 curious
 term.
 This
 word

and
 its
 associates
 -­‐
 bizarre,
 strange,
 and
 exotic
 -­‐
 appear
 habitually
 in
 the
 literature

surrounding
 Sargent,
 including
 in
 critical
 reviews
 and
 personal
 letters.
 In
 the
 wider

scope
 of
 the
 late
 nineteenth
 century,
 the
 term
 has
 an
 undeniable
 Aesthetic

connotation,
 being
 used
 widely
 by
 Pater
 and
 Lee
 herself,
 most
 notably
 in
 Pater’s

discussion
 of
 the
 Mona
 Lisa
 from
 his
 Leonardo
 essay
 of
 1869.
 A
 previously

unexplored
 letter
 from
 Sargent
 to
 Lee
 from
 20
 July
 1881
 includes
 a
 fascinating
 and

little
 discussed
 reference
 to
 Pater,
 with
 Sargent
 stating,
 ‘Tell
 me
 what
 you
 think
 of

Pater’s
 essays,
 I
 like
 one
 or
 two
 of
 them
 very
 much’2
 which,
 in
 combination
 with
 a

letter
 from
 Lee
 to
 her
 mother
 in
 June
 of
 the
 same
 year,
 stating
 that,
 ‘he
 [Sargent]

goes
 in
 for
 art
 for
 art’s
 sake’3
 implies
 a
 tantalizing
 thread
 of
 association.
 Did
 Sargent

consider
 himself
 a
 member
 of
 the
 Aesthetic
 cult?

 If
 so,
 is
 it
 possible
 to
 read
 the

often
 eccentric
 and
 enigmatic
 body
 of
 works
 produced
 in
 his
 early
 career,
 between

1878
 and
 1886,
 as
 being
 inYluenced
 by
 and
 acting
 as
 a
 response
 to
 Aesthetic
 texts?

The
 aim
 of
 this
 dissertation
 is
 ultimately
 to
 answer
 with
 a
 resounding
 ‘yes’
 by

examining
 closely
 Sargent’s
 earliest
 works
 in
 order
 to
 assert
 that
 they
 were
 created,

and
 performed
 in
 participation
 with
 many
 of
 the
 dialogues
 surrounding
 beauty
 and

sensation
 in
 the
 last
 quarter
 of
 the
 nineteenth
 century.

�1
 Vernon
 Lee,
 For
 Maurice:
 Five
 Unlikely
 Stories,
 (London:
 Jay
 Lane,
 1927),
 xxx-­‐xxxi.
 I

would
 like
 to
 thank
 Catherine
 Maxwell
 for
 bringing
 this
 text
 to
 my
 attention.
�2
 Richard
 Ormond,
 “John
 Singer
 Sargent
 and
 Vernon
 Lee,”
 The
 Colby
 Quarterly,
 v.
 9,

no.
 3
 (September
 1970),
 17.
�3
 Irene
 Cooper
 Willis,
 Vernon
 Lee’s
 Letters,
 (London:
 Privately
 Printed,
 1937),
 63.

�ii
Table
 of
 Contents

Abstract
 ____________________________________________________________________________________ii

Table
 of
 Contents

 _______________________________________________________________________iii

List
 of
 Illustrations
 ________________________________________________________________________v

Acknowledgements

 ___________________________________________________________________xix

Author’s
 Declaration

 __________________________________________________________________

 xx

Introduction
 _______________________________________________________________________________1

I:
 Curious
 Impressions
 and
 Critical
 Codes:

 A
 Philological
 Approach
 to
 Sargent’s

Critical
 Reviews
 __________________________________________________________________________35

I/impression(ist)/m
 ____________________________________________________________37

The
 ‘Impression’
 in
 Contemporary
 Movements
 _______________________________51

Symbols,
 Ciphers
 and
 Codes

 ___________________________________________________55

Sargent
 and
 the
 ‘Curious,
 Strange
 and
 Bizarre’
 _______________________________62

Literary
 Sources
 and
 Referents
 _________________________________________________65

II:
 The
 Aesthetic
 Mentorship
 of
 Vernon
 Lee,
 Carolus-­‐Duran,
 Henry
 James
 and
 J.
 M.

Whistler

 _________________________________________________________________________________76

Vernon
 Lee
 _______________________________________________________________________79

Charles
 Auguste
 Émile
 Durand
 or
 Carolus-­‐Duran
 _____________________________88

Henry
 James
 _____________________________________________________________________93

James
 McNeill
 Whistler
 ________________________________________________________106

III:
 ‘The
 Dirty
 Picturesque’:
 Sargent’s
 Orientalism
 and
 Exoticism
 __________________117

The
 Textual
 Orient:
 Fromentin,
 Ruskin,
 Pater
 and
 Wilde
 ___________________125

Rooftop
 Rosina:
 Capri
 and
 Naples
 ____________________________________________133

‘Strange
 Fiorituras
 and
 Guttural
 Roulades’:
 Spain
 and
 El
 Jaleo
 _____________138

Atmospheric
 Contrasts:
 Morocco
 and
 Venice

 _______________________________153

IV:
 Portraits
 d’Enfants:
 The
 Aesthetic
 Child

 __________________________________________160

The
 Pailleron
 Children
 and
 the
 ‘Frankly
 Individual
 Being’
 __________________164

�iii
The
 Daughters
 of
 Edward
 Darley
 Boit:
 The
 Cosmopolitan
 Child

 ___________169

Visual
 Analysis:
 Sargent,
 Millais,
 and
 Renoir
 _________________________________178

‘A
 Signieicant
 Vulgarity’:
 The
 Looking,
 Watchful
 Child

 _____________________186

Pure
 Aesthetics:
 Ornament
 and
 Pattern

 _____________________________________191

In
 Pastoral
 Array:
 Carnation,
 Lily,
 Lily,
 Rose

 _________________________________193

V:
 ‘The
 Mystery
 of
 White
 Things’:
 Sargent’s
 Colour
 Studies
 ________________________200

The
 Complexity
 of
 Colour:
 Tradition,
 Symbolism
 and
 Science

 _____________202

A
 Timeline
 of
 ‘White
 Studies’:
 Rossetti
 and
 Whistler
 _______________________207

Sargent,
 Whiteness
 and
 the
 Sculptural
 Body
 ________________________________212

From
 Dazzling
 Whites
 to
 Half
 Real
 Reds:
 Visual
 and
 Symbolic
 Shifts
 ______218

Sargent’s
 ‘White
 Girls’:
 Mrs.
 Henry
 White
 and
 Madame
 X
 ___________________224

‘A
 Return
 to
 Fifteenth
 Century
 Ideals’
 ________________________________________236

‘There
 is
 an
 end
 on’t’:
 Conclusion

 ____________________________________________________243

Appendix
 A

 _____________________________________________________________________________251

Appendix
 B

 _____________________________________________________________________________256

Bibliography

 ___________________________________________________________________________288

Part
 I:
 Primary
 Sources
 (before
 1925)
 _____________________________________________288

Part
 II:
 Critical
 Reviews

 A:
 Exhibition
 Monographs
 (France)
 _______________________________________297

 B:
 Serial
 Publications
 with
 Authors
 _______________________________________298

 C:
 Serial
 Publications
 without
 Authors
 ____________________________________306

 D:
 Newspapers

 ______________________________________________________________308

Part
 III:
 Archival
 Material

 ___________________________________________________________310

Part
 IV:
 Secondary
 Sources

 _________________________________________________________311

Volume
 II

Illustrations

 ___________________________________________________________________________338

�iv
Illustrations

!
Introduction

!
1. Sir
 John
 Lavery,
 The
 Opening
 of
 the
 Modern
 Foreign
 and
 Sargent
 Galleries
 at
 the

Tate
 Gallery,
 26
 June
 1926,
 1929.
 Oil
 on
 Canvas,
 85.7
 x
 116.8
 cm.
 Tate,
 London.

Reproduced
 from
 Tate
 Collections
 Database,
 http://www.tate.org.uk
 (accessed

March
 2,
 2014).

!
2. John
 Singer
 Sargent,
 Carnation,
 Lily,
 Lily,
 Rose,
 1885-­‐86.
 Oil
 on
 Canvas,
 174
 x

153.7
 cm.
 Tate,
 London.
 Reproduced
 from
 Tate
 Collections
 Database,
 http://
www.tate.org.uk
 (accessed
 March
 2,
 2014).

!
3. John
 Singer
 Sargent,
 Claude
 Monet
 Painting
 By
 the
 Edge
 of
 the
 Wood,
 1885.
 Oil

on
 Canvas,
 54
 x.
 64.8
 cm
 Tate,
 London.
 Reproduced
 from
 Tate
 Collections

Database,
 http://www.tate.org.uk
 (accessed
 March
 2,
 2014).

!
4. John
 Singer
 Sargent,
 A
 Morning
 Walk,
 1888.
 Oil
 on
 Canvas,
 67.3
 x
 50.2
 cm.

Private
 Collection.
 Reproduced
 from
 Ormond
 and
 Kilmurray,
 Figures
 and

Landscapes,
 1883-­‐1899,
 159.

!
5. Claude
 Monet,
 Woman
 with
 a
 Parasol
 –
 Madame
 Monet
 and
 Her
 Son,
 1875.
 Oil

on
 Canvas,
 119.4
 x
 99.7
 cm.
 National
 Gallery
 of
 Art,
 Washington,
 D.C.

Reproduced
 from
 National
 Gallery
 Collections
 Database,
 http://www.nga.gov

(accessed
 November
 18,
 2014).

!
6. John
 Singer
 Sargent,
 Madame
 X,
 1883-­‐84.
 Oil
 on
 Canvas,
 208.6
 x
 109.9
 cm.

Metropolitan
 Museum
 of
 Art,
 New
 York.
 Reproduced
 from
 Met
 Collections

Database,
 http://www.metmuseum.org/collection
 (accessed
 March
 2,
 2014).

!
7. Edouard
 Manet,
 Study
 for
 Le
 Balcon:
 Portrait
 of
 Mademoiselle
 Claus,
 1868.

 Oil

on
 Canvas,
 111
 x
 70cm.
 Ashmolean
 Museum,
 Oxford.
 Reproduced
 from

Ashmolean
 Collections
 Database,
 http://www.ashmolean.org
 (accessed
 March

7,
 2014).

!
8. Edouard
 Manet,
 Irises,
 1880.
 Watercolour
 on
 Paper,
 35.5
 x
 25.4
 cm.
 Private

Collection.
 Reproduced
 from
 Ormond
 and
 Kilmurray,
 The
 Early
 Portraits,
 16.

!
�v
9. John
 Singer
 Sargent,
 Fumée
 D’Ambregris,
 1880.
 Oil
 on
 Canvas,
 139.1
 x
 90.6cm.

Sterling
 and
 Francine
 Clark
 Art
 Institute,
 Williamstown,
 Mass.
 Reproduced

from
 Clark
 Art
 Collections
 Database,
 http://www.clarkart.edu
 (accessed

November
 18,
 2014).

!
10. John
 Singer
 Sargent,
 Portrait
 D’Enfants
 or
 The
 Daughters
 of
 Edward
 Darley
 Boit,

1882.
 Oil
 on
 Canvas,
 221.9
 x
 222.5
 cm.
 Museum
 of
 Fine
 Arts,
 Boston.
 Museum

of
 Fine
 Arts
 Collections
 Database,
 http://www.mfa.org
 (accessed
 March
 3,

2014).

!
11. John
 Everett
 Millais,
 Autumn
 Leaves,
 1856.
 Oil
 on
 Canvas,
 104.3
 x
 74
 cm.

Manchester
 City
 Art
 Galleries,
 Manchester.
 Reproduced
 from
 ArtStor,
 http://
www.artstor.org
 (accessed
 March
 3,
 2014).

!
12. Pierre
 Auguste
 Renoir,
 Children’s
 Afternoon
 at
 the
 Wargemont,
 1884.
 Oil
 on

Canvas,
 173
 x
 127
 cm.
 Alte
 Nationalgalerie,
 Staatliche
 Museen
 Ze
 Berlin,
 Berlin.

Reproduced
 from
 ArtStor,
 http://www.artstor.org
 (accessed
 March
 3,
 2014).

!
13. John
 Singer
 Sargent,
 Margaret
 Stuyvescent
 Rutherfurd
 White,
 or
 Mrs.
 Henry

White,
 1883.
 Oil
 on
 Canvas,
 225.1
 x
 143.8
 cm.
 Corcoran
 Gallery
 of
 Art,

Washington,
 D.C.
 Reproduced
 from
 Corcoran
 Collections
 Database,
 http://
collection.corcoran.org
 (accessed
 March
 3,
 2014).

!
14. John
 Singer
 Sargent,
 En
 Route
 Pour
 la
 Pêche
 or
 Oyster
 Gatherers
 at
 Cancale,

1878.
 Oil
 on
 Canvas,
 78.8
 x
 122.8
 cm.
 Corcoran
 Gallery
 of
 Art,
 Washington,
 D.C.

Reproduced
 from
 Corcoran
 Collections
 Database,
 http://
collection.corcoran.org
 (accessed
 March
 3,
 2014).

!
15. James
 McNeill
 Whistler,
 Symphony
 in
 White
 No.
 1:
 The
 White
 Girl,
 1862.
 Oil
 on

Canvas,
 213
 x
 107.9
 cm.
 National
 Gallery
 of
 Art,
 Washington,
 D.C.
 Reproduced

from
 National
 Gallery
 Collections
 Database,
 http://www.nga.gov
 (accessed

November
 18,
 2014).

!
16. James
 McNeill
 Whistler,
 Symphony
 in
 White
 No.
 2:
 The
 Little
 White
 Girl,
 1864,

Tate,
 London.
 Oil
 on
 Canvas,
 76.5
 x
 51.1
 cm.
 Reproduced
 from
 Tate
 Collections

Database,
 http://www.tate.org.uk

 (accessed
 November
 18,
 2014).

!
�vi
17. Dante
 Gabriel
 Rossetti,
 Ecce
 Ancilla
 Domini!
 Or
 The
 Annunciation,
 1849-­‐50,
 Oil

on
 Canvas,
 72.4
 x
 41.9
 cm.
 Tate,
 London.
 Reproduced
 from
 Tate
 Collections

Database,
 http://www.tate.org.uk

 (accessed
 November
 30,
 2014).

!
Chapter
 One

!
18. John
 Singer
 Sargent,
 El
 Jaleo,
 1882,
 Oil
 on
 Canvas,
 232
 x
 348
 cm.
 Isabella

Stewart
 Gardner
 Museum,
 Boston.
 Reproduced
 from
 Wikimedia
 Commons,

http://commons.wikimedia.org
 (accessed
 November
 18,
 2014).

!
19. John
 Singer
 Sargent,
 Madame
 Ramón
 Subercaseaux,
 1880-­‐81,
 Oil
 on
 Canvas,

165.1
 x
 109.9
 cm.
 Private
 Collection.
 Reproduced
 from
 Wikimedia
 Commons,

http://commons.wikimedia.org
 (accessed
 November
 18,
 2014).

!
20. John
 Singer
 Sargent,
 Madame
 Edouard
 Pailleron,
 1879.
 Oil
 on
 Canvas,
 208.3
 x

100.3
 cm.
 Corcoran
 Gallery
 of
 Art,
 Washington,
 D.C.
 Reproduced
 from
 Corcoran

Collections
 Database,
 http://collection.corcoran.org
 (accessed
 January
 5,

2015).

!
21. John
 Singer
 Sargent,
 Neapolitan
 Children
 Bathing,
 1879.
 Oil
 on
 Canvas,
 267
 x

413
 cm.
 Francine
 and
 Sterling
 Clark
 Art
 Institute,
 Williamstown,
 Mass.

Reproduced
 from
 Clark
 Art
 Collections
 Database,
 http://www.clarkart.edu

(accessed
 November
 18,
 2014).

!
22. John
 Singer
 Sargent,
 Carolus-­‐Duran,
 1879.
 Oil
 on
 Canvas,
 116.8
 x
 95.9
 cm.

Sterling
 and
 Francine
 Clark
 Art
 Institute,
 Williamstown,
 Mass.
 Reproduced

from
 Clark
 Art
 Collections
 Database,
 http://www.clarkart.edu
 (accessed

November
 18,
 2014).

!
23. John
 Singer
 Sargent,
 The
 Pailleron
 Children,
 1881.
 Oil
 on
 Canvas,
 152.4
 x
 175.3

cm.
 Des
 Moines
 Art
 Center,
 Des
 Moines,
 Iowa.
 Reproduced
 from
 Wikimedia

Commons,
 http://commons.wikimedia.org
 (accessed
 November
 18,
 2014).

!
24. Claude
 Monet,
 Impression,
 Soleil
 Levant,
 1872.
 Oil
 on
 Canvas,
 48
 x
 63
 cm.
 Musée

Marmottan
 Monet,
 Paris.
 Reproduced
 from
 ArtStor,
 http://www.artstor.org

(accessed
 March
 3,
 2014).

!
�vii
25. John
 Singer
 Sargent,
 Dans
 les
 Oliviers
 à
 Capri,
 1878.
 Oil
 on
 Canvas,
 76.2
 x
 63.5

cm.
 Private
 Collection.
 Reproduced
 from
 Ormond
 and
 Kilmurray,
 Figures
 and

Landscapes,
 1874-­‐1882,
 162.

!
26. John
 Singer
 Sargent,
 Mrs.
 Thomas
 Wodehouse
 Legh,
 1884.
 Oil
 on
 Canvas,
 119.4
 x

94
 cm.
 Private
 Collection.
 Reproduced
 from
 The
 Athenaeum
 Image
 Database,

http://www.the-­‐athenaeum.org/
 (accessed
 April
 14,
 2014).

!
Chapter
 Two

!
27. John
 Singer
 Sargent,
 Paul
 Helleu,
 1882-­‐85.
 Watercolour
 on
 Paper,
 23.5
 x
 37.3

cm.
 Private
 Collection.
 Reproduced
 from
 Ormond
 and
 Kilmurray,
 The
 Early

Portraits,
 95.

!
28. Giovanni
 Boldini,
 Portrait
 of
 James
 McNeill
 Whistler,
 1897.
 Oil
 on
 Canvas,
 170.8

x
 94.6
 cm.
 Brooklyn
 Museum
 of
 Art,
 New
 York
 City.
 Reproduced
 from
 the

Brooklyn
 Museum
 of
 Art
 Online
 Collections
 Database,
 http://
www.brooklynmuseum.org/opencollection/collections/
 (accessed
 December

1,
 2014).

!
29. Violet
 Paget
 (Vernon
 Lee)
 as
 a
 child,
 c.
 1870.
 Black
 and
 white
 photographic

print.
 Colby
 College,
 Vernon
 Lee
 Papers,
 Waterville,
 Maine.
 Reproduced
 from

Colby,
 Vernon
 Lee:
 A
 Literary
 Biography,
 no
 page
 number
 given.

!
30. John
 Singer
 Sargent,
 Vernon
 Lee,
 1881.
 Oil
 on
 Canvas,
 53.7
 x
 43.2cm.
 Tate,

London.
 Tate
 Collections
 Database,
 http://www.tate.org.uk
 (accessed
 March
 7,

2014).

!
31. John
 Singer
 Sargent,
 Portrait
 of
 Vernon
 Lee,
 1889.
 Graphite
 pencil
 on
 Paper,

33.7
 x
 22.9
 cm.
 Ashmolean
 Museum,
 Oxford.
 Reproduced
 from
 Ashmolean

Collections
 Database,
 http://www.ashmolean.org
 (accessed
 March
 7,
 2014).

!
32. Charles
 Auguste-­‐Émile
 Durand,
 or
 Carolus-­‐Duran,
 La
 Dame
 Au
 Gant,
 1869.
 Oil

on
 Canvas,
 228
 x
 164
 cm.
 Musée
 D’Orsay,
 Paris.
 Reproduced
 from
 ArtStor,

http://www.artstor.org
 (accessed
 March
 7,
 2014).

!
33. Diego
 Velázquez,
 Las
 Meninas
 (detail),
 1656.
 Oil
 on
 Canvas,
 318
 x
 276
 cm.

Museo
 del
 Prado,
 Madrid.
 Reproduced
 from
 ArtStor,
 http://www.artstor.org

(accessed
 March
 7,
 2014).

�viii
!
34. Léon
 Bonnat,
 Jules
 Grévy,
 1880.
 Oil
 on
 Canvas,
 111
 x
 147
 cm.
 Musée
 D’Orsay,

Paris.
 Reproduced
 from
 Wikimedia
 Commons,
 http://commons.wikimedia.org

(accessed
 November
 18,
 2014).

!
35. Charles
 Auguste-­‐Émile
 Durand,
 or
 Carolus-­‐Duran,
 The
 Convalescent,
 1860.
 Oil

on
 Canvas,
 99
 x
 126
 cm.
 Musée
 D’Orsay,
 Paris.
 Reproduced
 from
 ArtStor,

http://www.artstor.org
 (accessed
 March
 7,
 2014).

!
36. Charles
 Auguste-­‐Émile
 Durand,
 or
 Carolus-­‐Duran,
 Murdered,
 or
 The

Assassination,
 1866.
 Oil
 on
 Canvas,
 280
 x
 420
 cm.
 Palais
 des
 Beaux-­‐Arts,
 Lille.

Reproduced
 from
 ArtStor,
 http://www.artstor.org
 (accessed
 March
 7,
 2014).

!
37. John
 Singer
 Sargent,
 Sketch
 for
 Carolus-­‐Duran,
 1878.
 Oil
 on
 panel,
 34.3
 x
 26.7

cm.
 Estate
 of
 Mrs.
 Norman
 B.
 Woolworth.
 Ormond
 and
 Kilmurray,
 The
 Early

Portraits,
 45.

!
38. John
 Singer
 Sargent,
 George
 Hitchcock,
 1880.
 Watercolour
 on
 paper,
 22.7
 x
 29

cm.
 Private
 Collection.
 Ormond
 and
 Kilmurray,
 The
 Early
 Portraits,
 88-­‐89.

!
39. John
 Singer
 Sargent,
 Judith
 Gautier
 or
 A
 Gust
 of
 Wind,
 c.
 1883-­‐85.
 Oil
 on
 canvas,

61.3
 x
 38.1
 cm.
 Private
 Collection.
 Ormond
 and
 Kilmurray,
 The
 Early
 Portraits,

83.

!
40. John
 Singer
 Sargent,
 Lady
 with
 a
 Rose
 (Charlotte
 Louise
 Burckhardt),
 1882.
 Oil

on
 Canvas,
 213.4
 x
 113.7cm.
 Metropolitan
 Museum
 of
 Art,
 New
 York.

Reproduced
 from
 Met
 Collections
 Database,
 http://www.metmuseum.org/
collection
 (accessed
 March
 7,
 2014).

!
41. John
 Singer
 Sargent,
 Portrait
 of
 Henry
 James,
 Lost.
 Dimensions
 Unknown.

Reproduced
 from
 The
 Yellow
 Book,
 v.
 2
 (July
 1894),
 193.

!
42. Giovanni
 Boldini,
 A
 Portrait
 of
 John
 Singer
 Sargent
 (Standing),
 c.
 1890.
 Oil
 on

Panel,
 32.6
 x
 28
 cm.
 Private
 Collection.
 Reproduced
 from
 Wikimedia
 Commons,

http://commons.wikimedia.org
 (accessed
 December
 1,
 2014).

!
�ix
43. Giovanni
 Boldini,
 Uneinished
 Portrait
 of
 John
 Singer
 Sargent,
 c.
 1890.
 Oil
 on

Panel,
 27
 x
 22
 cm.
 Private
 Collection.
 Reproduced
 from
 Wikimedia
 Commons,

http://commons.wikimedia.org
 (accessed
 December
 1,
 2014).

!
44. John
 Singer
 Sargent,
 Portrait
 of
 Henry
 James,
 1912.
 Charcoal
 on
 Paper,
 61.8
 x
 41

cm.
 The
 Royal
 Collection,
 Windsor
 Castle.
 Reproduced
 from
 The
 Royal

Collection
 Trust
 Database,
 http://www.royalcollection.org.uk
 (accessed

November
 18,
 2014).

!
45. John
 Singer
 Sargent,
 Henry
 James,
 1913.
 Oil
 on
 Canvas,
 85.1
 x
 67.3
 cm.
 National

Portrait
 Gallery,
 London.
 Reproduced
 from
 National
 Portrait
 Gallery
 Collections

Database,
 http://www.npg.org.uk
 (accessed
 March
 2,
 2014).

!
46. Henri
 Fantin-­‐Latour,
 Hommage
 à
 Delacroix,
 1864.
 Oil
 on
 Canvas,
 160
 x
 250
 cm.

Musée
 D’Orsay,
 Paris.
 Reproduced
 from
 Wikimedia
 Commons,
 http://
commons.wikimedia.org
 (accessed
 November
 18,
 2014).

!
47. Henri
 Fantin-­‐Latour,
 study
 for
 Le
 Toast!
 Hommage
 à
 Verité,
 n.d.
 (probably
 May

1865).
 Graphite
 and
 Pierre
 Noire
 on
 Paper,
 14.3
 x
 23.1
 cm.
 Département
 des

Arts
 Graphiques,
 Musée
 du
 Louvre,
 Paris.
 Reproduced
 from
 Alsdorf,
 “Fantin’s

Failed
 Toast
 to
 Truth”,
 57.

!
48. John
 Singer
 Sargent,
 Venetian
 Women
 in
 the
 Palazzo
 Rezzonico,
 1880-­‐81.
 Oil
 on

Canvas,
 45.1
 x
 63.5
 cm.
 Private
 Collection.
 Reproduced
 from
 The
 Athenaeum

Image
 Database,
 http://www.the-­‐athenaeum.org/
 (accessed
 March
 7,
 2014).

!
49. Ralph
 Curtis,
 James
 McNeill
 Whistler
 at
 a
 Party,
 1879-­‐80.
 Oil
 on
 Canvas,
 116.8
 x

80
 cm.
 Private
 Collection.
 Reproduced
 from
 Wikimedia
 Commons,
 http://
commons.wikimedia.org
 (accessed
 November
 18,
 2014).

!
50. John
 Singer
 Sargent,
 Dr.
 Pozzi
 at
 Home,
 1881.
 Oil
 on
 Canvas,
 204.5
 x
 111.4
 cm.

UCLA
 at
 the
 Armand
 Hammer
 Museum
 of
 Art
 and
 Cultural
 Center,
 Los
 Angeles.

Reproduced
 from
 ArtStor,
 http://www.artstor.org
 (accessed
 March
 3,
 2014).

!
51. James
 McNeill
 Whistler,
 Harmony
 in
 Red:
 Lamplight,
 1886.
 Oil
 on
 Canvas,
 190.5

x
 89.5
 cm.
 Hunterian
 Museum
 and
 Art
 Gallery,
 Glasgow.
 Reproduced
 from
 the

Hunterian
 Museum
 Collections
 Database,
 http://www.huntsearch.gla.ac.uk

(accessed
 November
 18,
 2014).

!
�x