The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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JOHN SINGER SARGENT The Escutcheon of Charles V of Spain, about 1912 JOHN SINGER SARGENT Spanish Fountain, about 1914 Sargent turned to watercolor for the pleasures his portrait commissions denied: spontaneity, informality, the color and movement of outdoor light, and the freedom of self-chosen subjects. After 1903, when he began to work extensively in the medium, Sargent gave Impressionist aesthetics their most dazzling realization in though Sargent remained more illusionistic and less interested in broken color, he shared Monet's delight in pure visual sensation. Both artists insisted that their plein air subjects had no special meaning or picturesqueness, and were selected at random, or deliberately left uncomposed. This risky objectivity was most successful and coherence of architecture or sculpture to control the fluid asymmetrical motion of his color and brushwork. This method organizes Spanish Fountain and The Escutcheon of Charles V, where the doorway has been plotted with ruler and compass. Both works display the astonishing mixture of swiftness and precision in
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Page 3 and 4: GERALD M. THAYER Male Ruffed Grouse
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Page 9 and 10: a lisiS xy,MDCi ' PETER PELHAM Cott
Page 11 and 12: n BERNARD ROMANS An Exact View of t
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Page 15 and 16: JOHN VANDERLYN Sarah Russell Church
Page 17 and 18: ASHER BROWN DURAND Ariadne, 1835 ED
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Page 21 and 22: J. R. SMITH Shop and Warehouse of D
Page 23 and 24: JOHAN HENRICH OTTO Fraktur Motifs,
Page 25 and 26: D. W. KELLOGG & CO. Memorial Print,
Page 27 and 28: JOHN HILL after WALL The Palisades,
Page 29 and 30: .'"" / . JOHN E KENSETT Birch Tree,
Page 31 and 32: H. PAPPRILL after J. W HILL .. . --
Page 33 and 34: THOMAS NAST "Let Us Prey," 1871 EDW
Page 35 and 36: WILLIAM TROST RICHARDS Lake Squam f
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Page 39 and 40: WINSLOW HOMER Inside the Bar, Tynem
Page 41 and 42: THOMAS EAKINS The Gross Clinic, 187
Page 43 and 44: world liberated the body, Eakins's
Page 45 and 46: CHARLES ABEL CORWIN Portrait of Whi
Page 47 and 48: MARY CASSATT The Fitting, 1891 form
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Page 55 and 56: HENRY MARSH Moth and Beetles, 1862

The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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