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Index
 
1883 thru 1884
Title
Mrs. Henry White
1883
Corcoran Gallery of Art, Washington, D.C.
Oil on canvas
221 x 138.7 cm (87 x 55 in.)
Gift of John Campbell White

 
Madame Errazuriz (2) 
c. 1883-1884
Natasha
Private collection 
Oil on canvas 
48.3 x 39.4 cm (19 x 15½ in.)

 

Olivia Richardson
c. 1883

Private collection
Oil on panel
41.3 x 32.4 cm (16 1/4 x 12 3/4 in.)
Inscription (Upper right:) John S. Sargent



Mrs. Waldo Story
1883 
 
Private Collection
Oil on canvas  
110.5 x 73.1 cm (43 1/2 x 28 3/4 in.)
Inscription: (upper left) John S Sargent 1883



Madame Belleroche
c. 1884

Private collection
Oil on canvas
55.2 x 45.7 cm (21 3/4 x 18 in.)
Stamped with the artist's estate stamp J.S.S. prior to lining; also inscribed Sketch of a Head/To be returned to London on the stretcher


Madame Roger-Jourdain
1883-1885? 
Natasha
Private collection
Watercolor on paper
30.5 x 55.8 cm (12 x 22 in)
Inscribed ll: a Madame Roger Jourdain/ 
hommage de John S. Sargent

 
House and Garden
c. 1883-1884 
Private collection 
Oil on canvas
55.88 x 73.66 cm (22 x 29 in.) 

 
Violet Sargent
c. 1883 
Private collection
Watercolor on paper
45.08 x 21.59 cm (17 3/4 x 8 1/2 in. )

 


Violet Sargent (Bench)
c. 1883

Taft Museum, Cincinnati, Ohio
Watercolor
50.9 x 61.8 cm (20.04 x 24.33 in.)



Thistles
 c. 1883-1884
Private collection
Oil on canvas
55.88 x  71.75 cm (22 x 28.25 in.) 

 
Portrait of Mrs. Harry Vane Milbank
(nee Alice Sidonie Vandenburg)
1883-1884
Natasha
Private collection
Oil on canvas
188.6 by 90.8cm (74 1/4 x 35 3/4 in.)
Signed John S. Sargent and inscribed To my friend/Albert Belleroche, l.l.

 
Jaques Barenton
1883
Private collection
Oil on canvas 
57.1 x 45.7 cm (22½ x 18 in.)
signed John S. Sargent and dated 1883, u.r. 

 
The Viscountess of Poilloue of Saint-Perier (1850-1897)
1883
Musée d'Orsay, Paris
Oil on canvas 
131 x 94 cm
signed: John S. Sargent 1883 

 
Jean Guy de Poilloue, Vicomte de Saint Perier (Viscount of Saint Perier 
1845-1885)
1880 or 1883
Musée d'Orsay, Paris
Oil on canvas 
61 x 50.5 cm
Signed John S. Sargent 
1929 acquis;1978 entered material 
Inventory  RF 1978-51 

 
Madame Gautreau 
c.1883
Natasha
Fogg Art Museum, Boston
Graphite on off-white wove paper
24.6 x 26.6 cm (actual)
l.r., graphite: John S. Sargent
Bequest of Grenville L. Winthrop

 
Study for Madame X
(Madame Pierre Gautreau)
c.1883
Private collection
Pencil on paper
32.4 x 23.8 cm (12 3/4 x 9 3/8 in.)

 
Study for Madame X
(Madame Pierre Gautreau)
c. 1883
Natasha
Collection of Mr. and Mrs. Jean-Marie Eveillard
Pencil on paper
29.2 x 21 cm (11 1/2 x 8 1/4 in.)

 
Madame Pierre Gautreau
1883
Natasha Plate
Sargent at Harvard, Boston
Watercolor and graphite on white wove paper
35.5 x 25.2 cm (actual)

 
Madame Gautreau Drinking a Toast
c. 1883
Natasha 
Isabella Stewart Gardner Museum, Boston
Oil on panel
32 x 42 cm (12 5/8 x 16 1/8 in.)

 
Ellen Archer Eveleth Smith
1883
 Portland Museum of Art, Maine
Oil on canvas
63.5 x 51.4 cm (25 x 20 1/4 in)
Gift of Dr. and Mrs. Henry St. John Smith and children, 1986.65


Caroline de Bassano, Marquise d'Espeuilles
1884
Museums of San Francisco
Oil on canvas
167 x 106 cm (62 7/8 x 41 3/8 in.)
Gift of Mr. and Mrs. John D. Rockefeller 3rd to The Fine Arts Museums of San Francisco

 

Princess de Beaumont
c. 1884

Private collection
Oil on canvas.
65.4 x 50.5 cm (25 3/4 x 19 7/8 in.)
Inscription:  (Upper left:) portrait provisoire denier a Dieu (Upper right:) John S. Sargent signed


The Breakfast Table
1884
Natasha
Sargent at Harvard, Boston
Oil on canvas
21 1/4 x 17 3/4 in (Sight)
Framed 27 3/4 x 24 1/4 x 2 1/4 in
Bequest of Grenville L. Winthrop
Inscription: Inscription l.r.: a mon cher ami B[esnard]. 
Signature: l.r.: John S. Sargent

 
Nice
1883-1884 
Westmoreland Museum of American Art, Greensburg, PA
Oil on canvas 
46.35 x 64.45 cm (18.25 x 25.38 in.)

 


Landscape with Women in Foreground
c. 1883

Philadelphia Museum of Art
Oil on canvas
63.5 x 77.5 cm (25 x 30 1/2 in)
Gallery 159, European Art 1850-1900, first floor (Annenberg Galleries)
Assession # 2002-49-1; Gift of Joseph F. McCrindle, 2002


Landscape View Near Nice
1883 - 1884
Natasha
Private collection
Oil on canvas 
59.1 x 71.8 cm (23¼ x 28¼ in.)

 
Auguste Rodin
1884
Natasha
Musée Rodin, Paris
Oil on canvas
28 3/4 x 20 7/8 in.
signed "_____  _____ John S. Sargent 1884"

 
Mrs. Wilton Phipps
1884
Private collection
Oil on canvas
88.9 x 57.15 cm (35 x 22.5 in.)

 
Architectural Sketch of the Reform Club, London
Date? (possibly 1884)
Natasha
Fogg Art Museum, Boston
Graphite on off-white wove paper
17.2  x 10.9 cm., actual
Gift of Mrs. Francis Ormond, 1937.8.128

Madame X 
1884
Natasha Essay
The Metropolitan Museum of Art, NY
Oil on canvas
208.6 x 109.9 cm (82 1/8 x 43 1/4 in.)

(Road to Madame X)
(Caricature of Sargent's painting)
(Photo of Painting at Salon)
(Nicole Kidman's Madame X)


 
Unfinished copy of Madame X
1884 ?
Although this is dated 1884, other creditable sources state Sargent could have made the copy as late as 1890
Natasha
Tate Gallery, London
Oil on canvas
206.4 x 107.9 cm

 
Mrs. Kate Moore
(Katharine Robinson)
1884
Natasha
Hirshhron Museum and Sculpture Garden, Smithsonian Institution, Washington,  D.C.
Oil on canvas
181.9 x 116.2 cm (71 5/8 x 45 3/4 in)
Gift of Joseph H. Hirshhorn, 1972
Accession Number: 72.257

 
Mrs. Katharine Moore
1884
Musée d'Orsay, Paris
Oil on canvas 
71.5 x 50.5 cm
Signed (upper left): John S. Sargent
Inventory  RF 1977-446 

 
Melle Judith Gautier à la Fourberie
c. 1883-1885 
Musee Jean Faure, Aix-les-Bains,
France
Oil on panel
31.4 x 41.3 cm (12 1/8 x 16 1/4 in.)
Inscribed

 
Portrait of Ernest-Ange Duez
c. 1884
Natasha
The Montclair Art Museum, New Jersey
Oil on canvas 
28 3/4 x 23 3/4 in. 
Gift of Dr. Arthur Hunter in memory of Ethel Parsons Hunter 1962.32

 
Louis de Fourcaud (1851-1914)
1884
Natasha
Musée d'Orsay, Paris
Oil on canvas 
60 x 49.7 cm
Inscribed: A Fourcaud témoignage d'amitié  John S. Sargent 1884. 
[Fourcaud, testimony of friendship, John S. Sargent 1884]
gifted in 1915, Inventory  RF 2195 

 
Francois Flameng and Paul Helleu
1882-85
Natasha
Private collection
Oil on canvas
53.3 x 43.2 cm (21 x 17 in.)

 
Edith, Lady Playfair
1884
Natasha
Museum of Fine Arts, Boston
Oil on canvas
152.08 x 98.42 cm (59 7/8 x 38 3/4 in.)
Bequest of Edith, Lady Playfair 33.530

 
Mrs. Albert Vickers (Edith Foster)
1884
Virginia Museum of Fine Arts, Richmond
Oil on canvas
208.3 x 99.1 cm  (82 x 39 in.)
The Adolph D. and Wilkins C. Williams Fund

 
The Misses Vickers
1884
Natasha Essay
Sheffield Galleries and Museums Trust, England
Oil on canvas
137.8 x 182.9 cm (54 1/4x 72 in.)

 
Portrait of Frances Mary Vickers
1884
Natasha Essay
Private collection
Oil
23.5 x 19  in. 

 
Portrait of Colonel Thomas Vickers
1884
Natasha
Private collection
Oil
30 x 25 in.

 
Portrait of Miss Dorothy Vickers 
c. 1884
Private collection
Oil on canvas 
45.72 x 38.1 cm (18 x 15 in.)

 
Garden Study of the Vickers Children
1884
Flint Institute of Arts, Michigan
Oil on canvas
137.6 x 91.1 cm (54 3/16 x 35 7/8 in.)
Gift of Viola E Gray Charitable Trust

 
The Dinner Table
(Mr. and Mrs. Albert Vickers)
1884 
The Fine Arts Museums of San Franciso
Oil on canvas
51.4 x 66.7 cm (20 1/4  x 26 1/4 in.)

 

A Road in the South
1884
Stirling and Francine Clark Art Institute, Williamstown MA
Oil  on Canvas
46.0 x 32.5 cm (18.1 x 12.8 in) 


Edward Vickers
c. 1884 
Natasha
Private collection
Oil on canvas
50.8 x 35.6 cm (20 x 14 in.)
Inscribed u r: John S. Sargent


Mademoiselle Suzanne Poirson
1884
Private collection   
Oil on canvas    
61.6 x 48.5 cm (24 1/4 x 19 1/4 in.)
Inscribed: (Upper left:) John S. Sargent 1884

 
1883                      (27 years old)
Year In Context

The year begins with the  portrait of Mrs. Henry White, the wife of an American diplomat in Paris. In February, Sargent visits his parents and sisters in Nice. On the 10th he writes to Vernon Lee: "In a few days I shall be back in Paris, tackling my other 'envoi,' the Portrait of a Great Beauty [Virginie Avegno Gautreau] . . ."

Sometime during the year he does a number of  studies in anticipation of the final oil. This sittings are not going well. This was all uncommissioned and done in anticipation of a critical exhibition of his work at the Paris Salon. 

April: at the Society of American Artists, New York, he exhibits Lady with the Rose (Charlotte Louise Burckhardt 1882).

On the 30th, Edouard Manet, the father of modern art, dies of complications to syphilis at the age of 51.

In May, at the Salon, he exhibits Daughters of Edward Darley Boit (1882).

June: He moves to a new studio at 41 boulevard Berthier. Vernon Lee visits Sargent's studio on the 23rd and she writes to her mother.

In the summer he visits the Gautreau estate in Brittany to continue the painting of Mme. Gautreau. 

(see Photo of Sargent painting dated 1883)

July: on the 14th he returns to Paris, then makes a short trip to the Netherlands with Paul Helleu and Albert Belleroche. (possibly made the trip in '82).

Berthe Moriscot attempts to enlist his support for the Impressionist movement.

About this time, Giovanni Boldini paints a portrait of Sargent

August: he returns to the Gautreau estate (Les Chenes, Parame, Brittany) where, in some frustration, he writes again to Vernon Lee: "Your letter has just reached me still in this country house struggling with the unpaintable beauty and hopeless laziness of Madame Gaureau."  John  stays through September. 

By October he travels to Italy: Florence, Siena and Possibly Rome, then returns to Paris with a half finished portrait of Mme. Gautreau.

He's on friendly terms during this period with Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissarro, and particularly Claude Monet.
See footnote 1







1884                           (28 years old)
Year In Context

January: he goes to Nice to visit his family. Here he paints his baby sister Violet (later Mrs. Francis Ormond) in The Breakfast Table at his parents temporary home.  She would have been approximately 14 years old.  (Harvard notes).

The art world is brought together for a Manet retrospective at the Ecole Nationale des, Paris, January 6th thru the 28th.

On the 4th and 5th of February, a sale of Manet's work is held at the Hotel Drouot, Paris. Sargent buys an oil study of Le Balcon (consisting of a portrait of Fanny Claus) for 580 francs and a watercolor of irises. Sometime during this month he gets commissioned to paint The Misses Vickers in Sheffield, England.  Also in February he's invited to exhibit at the inaugural exhibition of the Sosciété des Vingts (LesXX) in Brussels along with twenty very select arists: Rodin, Whistler, Liebermann, and William Merrit Chase, among others.

Sargent meets Henry James who talks him into going to England early to visit, writes to Vernon Lee about Henry James and The Misses Vickers commission, then packs and leaves.

March: Sargent arrives in London on the 27th. The following day he visits the exhibition of Sir Joshua Reynolds' (1723-1792) work at the Grosvenor Gallery with Henry James.

James takes Sargent to the studios of several Important English artists on the 29th: among them Frederic Leighton (1830-1896) and John Everett Millais (1829-1896). That night James gives a dinner at the Reform Club and Edward Coley Burne-Jones (1833-1898) is among the guests.

April 3rd: still in England, James and Sargent are guests at a party given by an expatriate American painter Edwin Austin Abbey, and Alfred Parsons (Abbey would prove to be another critical friend).

May: At the Royal Academy, London, he submits Mrs. Henry White (1883) which he painted in Paris but they since moved to London, and at a party given by Mrs. White,  Sargent's eventual biographer and friend, Evan Charteris, first meets John. Was it a party celebrating her portrait on display? Quite possibly (Sometime during this year Mrs. White husband  had been appointed First Secretary to the American Embassy, London from his position in Paris France).

At the Grosvenor Gallery, London, he shows Mrs. Thomas Legh (n/a). 

For the Paris Salon he finally finished the Gautreau portrait (Madame X)  and submitted it as his only painting.  He arrives in Paris on the eve of the Salon's public opening nervous. His friend Ralph Curtis is with him.

Scandal erupts.

(The Road to Madmame X)

Among others, Sargent visits the Boits (Daughters of Edward Darley Boit 1882) for emotional support. Curtis laments in a letter to his family whom Sargent had painted in 1882.

After the exhibit he takes the  portrait back to his studio and from then on its referred to it as Madame X.

Emotionally burnt out and with a bitter taste in his mouth for all things Parisian, he writes to his friend Henry James longing for London and happier times: "I am dreadfully tired of the people here and of my present work, a certain majestic portrait of an ugly woman [Mrs. Kate Moore]. She is like a great frigate under full sail with homeward-bound steamers flying" (Olson, p.109)

On the 25th of May, he leases Besnard's studio in Kensington with anticipation of work in England. 

June: 7th, Sargent gives a lunch in Paris attended by Paul Bourget, Oscar Wilde and his new wife.



By the 10th he happily wipes the dust of Paris from his shoes and finally  arrives in England, taking residence at Bailey's Hotel.

Sargent and Edwin Abbey host a joint tea party at which Vernon Lee sees Lady Playfair unfinished on an easel in his studio.

July: he visits Mr. and Mrs. Albert Vickers in Sussex, England. 

Then on to another branch  of the Vickers family at Sheffield, to paint The Misses Vickers, daughters of  of Colonel Thomas Vickers, whom he had been commissioned to paint prior to the Salon Paris.


October: goes to Petworth and then back to Sussex with Albert Vickers where he paints  several informal studies, two of which is  Garden Study of the Vickers Children and The Dinner Table.

November, he paints his friend Robert Louis Stevenson (n/a -- the first of three and this has been destroyed), at Bournemouth, then returns to Paris after Christmas.

In Paris he does not socialize outside other painters and his closest friends: Monet, the Burckhardts, the Boits, William Dana, Julian Story, Miss Alma Strettell,  and spends time at the Louvre studying Rubens and the Primitives.
 

 
Index


 

Help Me Identify Broken Links
 
 

Footnote 1


Camille Pissarro (1830-1903)  born in Saint Thomas, Virgin Islands, and moved to Paris in 1855. Pissarro produced many quiet rural landscapes and river scenes; he also painted street scenes in Paris, Le Havre, and London. He also was a great teacher of Paul Gauguin, Paul Cézanne, and Mary Cassatt.

Edgar Degas  (1834-1917) 

Pierre-Auguste Renoir

Claude Monet (1840-1926) 



Alfred Sisley (1839-1899) a French landscape painter born in Paris of English parents.  He became one of the founders of the impressionist school of painting. Although Sisley's work attracted little attention in his lifetime, its importance has since been recognized. Painted the surrounding French country side of Paris.