Sargent. Donald Wigal

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to the small girls, each of whom displays a unique personality.

      Sortie de l’église (After Church) Campo San Canciano, Venice

      1882

      Oil on canvas, 59.9 × 85.1 cm

      National Gallery of Art, Washington, D.C.

      “Relaxed and trustful, the children give Sargent an opportunity to record sensitively a gradation of young innocence – from the naïve, wondering openness of the little girl in the foreground, to the grave artlessness of the ten-year-old, to the slightly self-conscious poise of the adolescents.” A review of the 2006 Metropolitan Museum exhibit “American in Paris”, called that Sargent painting “one of the greatest paintings of children in the history of art”.

      El Jaleo

      1882

      Oil on canvas, 232 × 348 cm

      Gift of T. Jefferson Coolidge (1914)

      Isabella Stewart Gardner Museum, Boston

      More obvious, Velázquez’s fascination with servants, entertainers, and dwarfs, as in A Dwarf Sitting on the Floor (Don Sebastián de Morra?) (c.1645), was caught by Sargent in his work A Dwarf at the Spanish Court (After Velázquez) (1879). Major works of this 1879 period include Among the Olive Trees, Capri, Neapolitan Children Bathing, and the portraits Madame Edouard Pailleron, and Carolus-Duran.

      The Sulphur Match

      1882

      Oil on canvas, 58.4 × 40.6 cm

      Jo Ann and Julian Ganz, Jr. Collection

      In 1880, Sargent began a six-month stay in Venice. In that year he painted at least twenty-one portraits, including Carmela Bertagna and Portrait of Ralph Curtis on the Beach at Scheveingen. One of at least forty-six non-portraits produced that year was Venetian Bead Stringers. There were also Venetian Street, A Venetian Interior and The Sulphur Match. Several of the artist’s works in the 1880s show Venetian scenes: glass workers, women in the Palazzo Rezzonico, and bead stringers.

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