Customer Reviews

John Singer Sargent

5 star:		(7)
4 star:		(3)
3 star:		(1)
2 star:		(3)
1 star:		(0)

 

 

I have no idea what the others are complaining about. I compared this Sargent book side by side at a book store with other published Sargent books, and this one had the best reproduction by far. It is even better than "John Singer Sargent : The Early Portraits (The Complete Paintings , Vol 1)", which is by the same author and editor as this one. Make no mistake, this is the best book so far I've seen on Sargent. I'm not concerned about the writing since I'm a fan of Sargent because I'm a painter, and he's one of the best there ever was. Sure I'd read the text, but it's not nearly as important as the reproductions of his paintings. It's all about the paintings, and he is an artist. That's all that matters.

I saw this exhibit at the Tate Gallery, London. The exhibit was terrific, though something seemed lacking in the over all presentation. Sargent is one overlooked watercolorist. He is one of the greatest, on an equal or superior platform to Homer. His Valasquez like eye made him a superior artist, though he seemed to get trapped in his facile technique in society portraits. Sargent is an amazing artist. One whose personal power has always been challenged by those that believe technique is secondary. Tell that to someone who appreciates his lively beautiful brushwork and intelligent landscapes. They won't buy it! The reproductions are not second rate as stated previously. They are rather good!The essays are good reading too.

I found no cause for criticism. The text was informative and accessible, offering a tantilizing glimps into the life of a brilliant artist who was the darling of the Victorian and Edwardian era's but whom has been subjected to much derision by succeding generations. Not having had the good fortune to have seen the recent exhibition, I found this book to be the next best thing. I would highly recommend it to anyone studying John Singer Sargent, and for the general reader alike.

Having seen the exhibit behind the book, I looked forward to reviewing the many gorgeous paintings I saw. Although the text in the book is fine, the pictures are alas not. Many are in black and white, but the real disappointment came in the color reproductions where things were really second rate, looking more suitable for postcards than a fine art book. I returned my copy to Amazon, and I would suggest you save your money unless there is no other way you will see some of his work. Very disappointing!

I own both the Ratcliffe book on Sargent and Sargent Abroad, and I find this book to be a fine addition to my library of Sargent books. Frankly, the criticisms here regarding the reproductions are greatly overstated, in my opinion. I have no quarrel with the reprductions in my copy, except that I would welcome more detail shots and a larger format for the book in general. The abundance of notes and the photos of Sargent and his studio (etc.) have to be appreciated by any serious student of Sargent.

I saw this exhibit in DC last week and Sargent's works were so gorgeous that it's worth your time to see it twice and wait in line. But I have to admit a great sense of disappointment in this book because many reproductions are not true to the original. The colors were not as vivid- this is really noticeable in the watercolors which were duller copies of the originals. The stories are interesting, but you can get that from other Sargent books. This book is overpriced for what it offers because you won't be able to get a sense of Sargent's brilliant colors. One good thing about this book is that it had a color reproduction of several of Sargent's works that is not available in other books. If you're looking for a better book, I suggest "Sargent Abroad."

I bought this book on sale at a book store for less that ten dollars. The illustrations are far larger and better than in the sixty dollar books on Sargent I've bought.

First off, you will never be satisfied with any reproduction compared to the original painting. Sargent's paintings in the MFA in Boston looks like the paint was laid yesterday. But I have seen several reproductions of this work, the originals in the MFA and MOMA in NY, and of all the major books I have seen, this has the most disappointing reproductions. The colors seem muted and flat.
On the other hand, the information on each painting is great, and for specific info on his works in a one volume set, this can't be beat.

This book accompanied an international exhibit traveling from the Tate Gallery, London, to the National Gallery of Art, Washington, and finally to the Boston Museum of Fine Arts, Boston. Edited by Richard Ormond (the artist's great nephew and Director of the National Maritime Museum, Greenwich) and Elaine Kilmurray (author of catalogue raisonne of Sargent's work), the book encompasses the breadth of Sargent's work as an artist.
I used this book as a reference while reading the biography "John Singer Sargent: His Portrait" by Stanley Olson. This is a comprehensive collection of Sargent's art from his early works including The Oyster Gatherers of Cancale to later works such as the painting Gassed (a monumental canvas done for the British War Memorial Committee of the Ministry of Information).
As represented by this book, Sargent was much more than only a portraitist. "He was not a portrait painter who practiced as a muralist and landscapist on the side, he was all three in equal measure, and he gave to each in succession his undivided attention." The book includes: many of his Venetian hours (Venise par temps gris and An Interior in Venice), Paris and the Salon (the painting of Carolus-Duran at whose atelier he studied), and the Madame Gautreau debacle (the painting Madame X). It continues with Sargent reinventing himself in England with the painting Carnation, Lily, Lily, Rose, which was a success when exhibited at the Royal Academy, London. It follows with portraiture--many Victorian characters such as Robert Louis Stevenson, Isabella Stewart Gardner, Henry James, and "a gallery of Edwardian personalities." Later chapters include the Murals at the Boston Museum of Fine Arts and the Boston Public Library (definitive works as an artist), and Sargent the Watercolourist, especially Venetian watercolors (perpetual architecture, perpetual fluidity).
Sargent's art is a unique blend of realism and impressionism. "His pictures do not dissolve into skeins of color like those of Monet or Renoir because his instinct for defining forms and constructing spaces is too ingrained." For anyone who wants to see as Sargent sees, this is the book to have. Next best thing to viewing the exhibit.

I, like the previous reviewer, saw the exhibit recently and was enamored with Sargent's work! Imagine my dissapointment after getting the book home and not seeing the "same" paintings as I had on the exhibit hall wall. Sargent's use of light is phenomenal and his life sized paintings and murals lose so much in the reproductions. Skip the book and go see the exhibit. It will be one that sticks with you for a long time to come, as it will with me.