Studio: Boulevard Berthier, Paris

"This is Sargent's studio at 41 Boulevard Berthier, Paris. He moved here in June of 1883. On the 23rd of that month Vernon Lee visited and then wrote to her mother regarding the place. The studio did have some history to it as it had previously been occupied by Alfred Stevens (Belgian painter in Paris, 1823–1906).

The photo was probably taken right before the Salon of 1884 (though I'm guessing). His painting of Madame X is to his left and appears ready for show. On the easel which he faces, is the painting of his sister he did in January called The Breakfast Table. Behind Madame X, and hanging on the wall, is Dwarf with a Mastiff, which was a copy after Velázquez's painting which he made at the Prado in Madrid. The porcelain dolls sitting on the mantel over the doorway and the tapestries are reflective of Sargent's taste in the modern movement and attitudes prevalent in Paris at the time for all things Japanese -- especially prints. This profoundly influenced the Impressionists (the influence was called Japonisme)." 1

john singer sargent has been mentioned here before. (interestingly, it's one of the most often searched-for pages.) but today i revel in the discover of the john singer sargent heartland.

run by "natasha the ex-seamstress," clearly a woman with a deep connection to the mikado, the site is an astonishing, comprehensive, and wonderful encyclopedia on sargent, which will take me quite a long time to learn everything there is to learn from it.



so far, among other things, i've found another hammock, this time by giovanni boldini.

Carnation, Lily, Lily, Rose

Ye shepherds tell me have you seen my Flora pass this way? a wreath around her head she wore, Carnation, Lily, Lily, Rose, and in her hand a crook she bore and sweets her breath compose. the beauteous wreath that decks her head forms her description true, hands lily white, lips crimson red, and cheeks of rosy hue.1

"The seasons went from August till the beginning of November "Sargent would dress the children in white sweaters which came down to their ankles, over which he pulled the dresses that appeared in the picture. He himself would be muffled up like an Artic explorer. At the same time the roses gradually faded and died, and Marshall and Snelgrive had to be requisitioned for artificial substitutes, which were fixed to the withered bushes . . . . In November, 1885, the unfinished picture was stored in the Millets' barn. When in 1886 the Barnard children returned to Broadway the sittings were resumed.
(Charteris , P75) 2

(lillian genth; duane michals; john singer sargent; helen turner; helen turner; emerson van gorder luther)