Реферат: Sargent, John Singer
Anexpatriate American, he showed remarkable technical precocity as a painter.After studying with Carolus-Duran, he achieved a great reputation for hisportraits, employing a style that could be seen as derived fromVelázquez by way of Manet.
Moving inthe circle of the Impressionists, he came to know most of them, and theyreacted to his work in varying ways. Degas, as might have been expected, wasbrutally dismissive; Pissarro, in sending his son to see him in London, whereSargent spent the major part of his working life, described him as `an adroitperformer'; but with Monet he had a close and mutually profitable relationship.In the 1880s he began to paint landscapes that were overtly Impressionist intechnique and approach, despite a certain superficiality.
At thistime he visited Monet at Giverny on several occasions, painting two memorableportraits of him: Claude Monet Painting at the Edge of a Wood(c.1885; Tate Gallery, London) and Claude Monet in his Bateau-Atelier(1887; National Gallery of Art, Washington). Although Monet was later to denythat Sargent was an Impressionist, this was unjust, especially in relation tosome of his works in the 1880s and 1890s. Indeed, Sargent's technique forpainting large canvases out of doors, as evinced in Carnation, Lily, Lily,Rose (1885-86; Tate Gallery, London), was to be of use to Monet in hislarger compositions. Sargent persuaded Monet to exhibit at the New English ArtClub, and at the Leicester Galleries in London.
Для подготовкиданной работы были использованы материалы с сайта www.ibiblio.org/louvre/paint/