Natasha's What's New Page   (Frontpage)  (What's New Direcotory)
"FUEGO does Sargent" 
Colette Marie Illarde "La Canela"
Sargent's El Jaleo

From: "Colette Illarde" <>  
Date: Sat, 5 Jan 2002  

Hi Natasha 

I'm writing to you again after almost one idea to recreate El Jaleo has come to fruition. We open the show on January 24th [called "Simply...Flamenco!"]. Below is our press release FYI. I frequently surf your site! I have found the article by Nancy Heller - it is excellent and I would like to write to her. . .  

Looking through the Sargent at Harvard site- I came across a sketch [by Sargent] for El Jaleo: Six Verses of a Spanish Poem/Song "Pelinera"(?) Well, there is a cante jondo (deep song) flamenco form called Peteneras! We are going to open the show with it.  

Again, thanks for the great site. Here's my site 

[For times and dates click "Projects and Press"] 

Colette Marie Illarde  
FUEGO Flamenco 

From: Natasha 
Date: Monday 14, 2002 

Dear Colette, 

What a joyous surprise to hear from you again. . .  

I thought the article by Nancy G. Heller was excellent too. She wrote it for the American Art magazine which is published by the Smithsonian.  

I don't have her e-mail but I'm sure that the Magazine could forward information. Here is their phone number for article submissions. Sorry, it's taken so long to get back to you on this, I know you probably want to reach her before the show. Phone (202) 275-1555; E-mail And webpage 

Break a leg 

Natasha Wallace 


What's New

What's New Page Spring 2002


Be Notified of Updates
April 7, 2002 

Paintings Added: 

Daisy, Princess of Pless Constance, Dutchess of Westmister 

April 30, 2002 

Paintings Added: 

I have struggled for the longest time on how to best present Sargent's work at the Boston Public Library. The following is my working thesis, you might say. There is more that needs to be added in the way of explanation but here it is so far: The Boston Public Library Murals 

April 29, 2002 

Paintings Added: 


Hercules Constellation in Juxtaposition  

April 25, 2002 

Essay: Lady Astor 
Jill Mullins ask about Portrait of Léon Delafosse's hands 

April 24, 2002 

My modus operandi seems to be that I get bored working on something and then I just let it sit for a while. The problem with this, of course, is nothing ever gets done. One hell of a way to run a railroad. 

There is a lot of new over this month. I've been  busy  on some essays which were fun. I'm not sure I even remember them all. But a few of the major ones are  

The real rewarding things for me is hearing from other people. A sample of some are 

Nicholas F. Warner who is related to Boldini's Lady Decies. I think you will enjoy his letter. 

Matt Davies wrote about Grace Elvina  

Stephanie sent me heads up about a Mark Borghi Fine Art featuring some Sargent work (listed below) 
And Wendy & Gordon Hawksley who have been busy little beavers getting all manner of information together for us. They sent me word about a Boldini painting of JSS. I have never seen this image so this was wonderful. They personally have an interest in a painter William Bruce Ellis Ranken and they've found information that links him to Sargent, they have also sent me a number of "Mug" portraits (more to come). If you haven't noticed I'm trying to do breif bios of his close friends etc. 

Speaking of other artists. I've added additionally  William Orpen (1878-1931) Irish painter and Alfred William Parsons (1847-1920) 

I apologies, there is just a ton of stuff I'm leaving out but my feeble brain can't remember them all. Anyway I need to get rolling. It's a beautiful spring day out there 

Everyone be well. 
Paintings Added: 

March 14, 2002 

Paintings Added: 

March 12, 2002 

"It's all in how you look at things. You might say it's silly to go digging in the graveyards of the internet for parts to use for some greater good. You might think that nothing has changed, not one inch as moved in like . . .. well, . ..   forever. But you must have faith" 

Natasha slumped against the chair. The weight of fatigue pushed down on her tired shoulders. In a moment of silence you heard the wolves howling outside.  

"As I see it," she began anew, "it is constantly growing project that just devours huge chucks of my time, munching and gobbling as things are evolving, forming and growing. You'll see . . . . . you'll see." The back of her hand lifted to her forehead and her eyes closed slowly. 

Suddenly she started upright, as if by some fear of something forgotten, waving off some unfinished question and turned to inspect her notes.  Only minutes later did she resume by looking up. "It has sent me frantically on one venture after another. I can't tell you where and how far yet. You won't understand . . ..and I want you to understand. You see that, don't you?" 

Lightning struck the castle piercing the darkness in a flash of blinding light followed by a booming clap. Natasha turned and hunched over the keyboard typing furiously. Her white lab coat soiled from trips out into the darkness and back again with always something hidden in a box. Her hair tussled, unkept from countless times she's pulled on it in frustration. Another sudden bolt ripped down into the lab making you jump and sending the metal poles from high above, zapping, and sizzling in huge arcing volts over the motionless lump on the table that was covered by a sheet. 

"So much to do," she yelled out over the noise, "and so little time to do it in. I've pushed the what's new entry back so far trying to finish just one major project." She pointed aloft, "Just one project. That's all I wanted to finish -- Just one. But I can't -- it's all so intricately linked to yet other paintings and yet other personalities which you simply MUST know about in order for the original project to be complete. Excuse me--" 

She pushed past you, over to the table and began pulling on the chain that slowly ratcheted the motionless lump and table up towards the opening in the stormy sky above. The flashes came quicker now and more violent, ripping across the sky. You heared the wind churning the trees outside and loose papers flew off nearby tables into little whirlwinds at your feet. 

Natasha raised her voice to almost a scream, the veins in her neck pressing out, her hair blew into her face which she had to pull back. Still, you leaned forward to hear. "So, as I was working one footnote begat another and before I  knew it, here it was two months later,"  

Crash! Another lightning bolt. 

"And there is such a mess of unfinished webpages strung out that there is no way I can safely navigate back to January." She stopped and thought,  "In other words, I have no idea what's new.  . . . ." 

"Wait! . . . Look!" 


A bolt sent the chains holding the table shivering in convulsions all the way down to the cold wet stone floor. Rain began pouring through the opening in the roof. Natasha jumped, with the energy of a child over to the control panel to examine the blinking lights and gages that fluttered madly. Long cylinder tubes filled with gelatinous fluid began gurgling.  

From high above you heared it, an unholy moan emitting from the lump on the table. Natasha whirled around, her eyes red and crazed. She grabbed your arm and pointed skyward towards the ungodly thing (the website). You tried to see, but your face was pelted by rain and couldn't. 

 "It's alive!" She cried,  her face wet and pasty white, "The Website lives, I tell you!" 
* * * * 

Well,  . . . .It didn't exactly happen that way, but you get the idea. Here are some highlights of my rampage across the internet. 


Paintings Added: 
Two Girls on a Lawn       1889   
Lady Astor     1909   
Duke of Marlborough Family    1905   
Brenva Glacier, Purtud   1905   
Sunset at Cairo   1890-1891   
John Alfred Parsons Millet     1892-1893   
Study of A Nude Male     1899   
Torsos of Two Male Nudes     1919   
Study of a figure for Hell    1919   
Reclining Nude Figure    1919   
Study for a devil and victim in Judgement     1919   
Study for the fall of Gog and Magog    1915-1916   
Bivouac    1911   
Louis de Fourcaud (1851-1914)    1883-1884   
Mrs. Katharine Moore    1883-1884   
Jean Guy de Poilloue, Vicomte de Saint Perier (Viscount of Saint Perier 1845-1885)   1883-1884   
The Viscountess of Poilloue of Saint-Perier (1850-1897)   1883-1884   
Vespers   1909   
Portrait of Léon Delafosse   1899   

Artist Added: 

Sargent's closest friend Paul César Helleu (18591927) French drypoint etcher and painter. The text is nowhere even close to being done. 

And some more paintings added to Giovanni  Boldini

Forum entries: 

Linda Hollander writes about her love affair with Dr. Samuel Jean Pozzi at Home . . . .Did I just say that? I meant her love affair about researching Dr. Samuel Jean Pozzi at Home. 

Arthur Saltzman writes about the painter Charles S. Hopkinson  
William Forward will be our  . . . "forward" correspondent in Paris this summer.  

James Tennison asks: when will "Late Portraits" be published?  

Theodore Frangulescu writes about his relations to Mrs. Louis E. Raphael   

A great Grandson writes about  Ruth Sears Bacon  

Geneva Pepper writes about a possible connection to a painter James Thomas Platt,  

Deborah Davis is writing a book on Madame X if you know anything let her know. 

Shay writes about the  Portrait of Anita Thorne Corse Smith  

Janice Hingston sends her regards from Brookwood Cemetary  

Last but not least.  . .  
Theodore Roosevelt   The bully pulpit bullies Sargent -- natasha's essay. 

January 14, 2002 

If you are reading this, then I assume you made it into the New Year. That's not a small accomplishment given the horrible events of the past year. But 2002 is going to be GREAT! As for myself and my site, the progress continues on transferring files to my new website under -- MAN is this taking a long time; and I've cleaned up a lot of broken links to my thumbnail section; but enough of that. . . . . Borrrrrrrrrring! 

The first order of business is to let you know that if you currently have my site inform you of any changes to the "What's New" page, you need to re-log your request because this is a new "What's New" page.  

New Years brings old friends 

It's nice to hear from old contacts from time to time. A very quick public wave to Jennifer Savagdis whom I haven't heard from in so very long! <soft hugs> 

In March of 2000, Colette Illarde was one of the early people to write me about my Sargent site. After such a long time I heard back from her and she is this month's featured artist -- see column left 

Speaking of the American Art magazine (as I did in my letter to Colette) this past fall the magazine featured Madame X as their cover story called  "Painting Skin: John Singer Sargent's Madame X" by Susan Sidlauskas  

In the Spring issue of 2001, there was another article on Sargent entitled: "Man Screaming by John Singer Sargent." by Trevor Fairbrother.  

Natasha Goes Surfing 

Tom Richardson has got to be one of the shyest men on the planet earth but this guy has managed to compile one of the most significant resources of links and images I have ever seen  on the art of the human figure, drawing, portraiture and the nude. I just spent hours joyfully surfing link after link to no end of articles, discussions, and images -- both of his art and others. The funny thing about all of this was it took me hours of sleuthing (though admittedly I kept getting sidetracked by one fascinating webpage after another) before I  figured out who the webmaster of this incredible site was. It seems this wall flower of an artist, for he is an artist himself, does in fact paint wall flowers  . . . in a manner of speaking. Tom Richardson is a  Lead Scenic Artist for the film industry and is also a talented artist of the human figure.  

But it's not about Tom that makes this site so incredible -- at least not entirely about Tom. What makes it so remarkable is that he has taken an issue --the human figure and the nude -- and has exhaustively compiled links beyond his own work that would appeal to any artist as well as any fan of the art form. He has resisted the temptation to fragment his focus (believe me I know the temptation to do that), and the result is it stands up as one of the most important web sites for links on Figure Drawings. 

The envelope please . . . . . .Gosh, I should have brought my glasses (they always say something like that) . . . .  

:: clearing throat 

And the Coveted Natasha Thumb goes to . . . (is the suspense killing you?) . . . Tom Richardson for his work on Figure Drawings 

PS in a rare instance, Tom has managed to find me before I've had the oportunity to anounce his site as a winner. he wrote:  

    Date: Mon, 14 Jan  

    Hi, I just noticed a link to my site ( on yours. Thanks. I'll add a link to yours I guess on the links-paintings page, unless you have a better idea.  

    Nice work on your site. By the way I just saw a fantastic little Sargent portrait of just a head of a lady in the Los Angeles County Museum of Art, a great example of what he can do with a few deliberate brushstrokes, when you look up close it is all brushstrokes but step back just a few feet and all the forms resolve.  


Mmmmmm so true, Tom. Wow, you sure move fast. I hope you enjoy your distinguished award.  

Speaking of keeping focused. okay, so I can't practice what I preach. I admit, from time to time I get lost on some tangent that has nothing to do with Sargent nor the 19th century. But as much as I hate to admit it (not really but it must seem so from a 3rd party point of view) I do in fact live in the 20th . . . . .  I mean 21st century.  

There is some cool stuff done with commercial art and design -- more so all the time, and it's neat that some of it is meshed with web design. Here is a fun eye candy store for people that have WAY  to much money.  


The envelope please . . . . . . 

Ooops, not this time. It's still a fun surf though. 
Architecture, the interaction of people, a community that's felt by those that share in a common space, a sense of place. What really defines a sense of place? Why are some cities more appealing than others? Why do some places have a very strong identity of what they are? All of these questions have fascinated me for various reasons. It's a complex question, even after having taken a collage course on this very subject its not an easy thing to answer. 

J.H. Crawford has spent a far amount of time on this subject. he claims that the automobile is the source of most of our ills.  "The car," he says, "brought with it major unanticipated consequences for urban life and has become a serious cause of environmental, social, and aesthetic problems in cities." 

To heap it all on the automobile may be a bit simplistic, but the car has, with out a doubt,  profoundly effected the way we all interact with our built environment. Crawford has felt so strongly on this subject that he published a book called "Carfree Cities" with excerpts available on the net. The site appears to not be fully complete but his treatment of Venice is superb. I spent a lot of time here and I enjoyed every bit of it. 

Take a look at Carfree Cities and in particular "Venice, the largest carfree city" 

There is so much more, Sargent related that i haven't got time to get up online yet, more to come soon. 

What's New Page Summer/Fall 2001