Greek News Reporter, February 13, 2017
John Singer Sargent’s An Interior in Venice and Elizabeth Allen Marquand on view in Princeton through December 11, 2011
Two Renowned Paintings Hang Together for the First Time at PUAM
PRINCETON, NJ--Continuing a practice--which dates to the 1930s--of partnering with other leading museums to present single-painting “masterpiece exhibitions,” John Singer Sargent’s An Interior in Venice(1899) is on view at the Princeton University Art Museum. The distinguished painting by Sargent (1856–1925), Europe’s most fashionable portraitist of the age, enters into a conversation with the Museum’s own Elizabeth Allen Marquand (1887), offering a unique opportunity for visitors to gain special insights into the artist’s remarkable career. An Interior in Venice is on loan from the Royal Academy of Arts, London, and on view in Princeton through Sunday, December 11, 2011.
“An Interior in Venice is among the best of the richly evocative paintings Sargent produced in Venice, and forms a fascinating counterpoint to Princeton’s equally renowned Elizabeth Allen Marquand, completed in Newport a decade before,” said the Museum’s Curator of American Art Karl Kusserow. “These singular works represent the broad range of Sargent’s impressive production, each enhancing our appreciation of the other’s distinctive qualities while together embodying this enormously gifted artist’s painterly talents.”
Technically perhaps the most talented of 19th-century American artists, Sargent is best known for his assured, bravura portraits of the expatriate American and European haute bourgeoisie—painted embodiments of Gilded Age elegance and privilege. It is easy to imagine Sargent’s career unfolding as fluidly as his brushstrokes. Yet following the scandal of Sargent’s risqué portrait of socialite Madame X (Madame Pierre Gautreau) (1883–84; Metropolitan Museum of Art, New York) and her striking décolletage, the pace of commissions at his Paris studio slowed dramatically. Sargent retreated to London, where his notoriety and flamboyant style kept critics and patrons alike at bay.
When Henry Marquand invited Sargent to America to paint his wife’s portrait, the artist considered the offer seriously, despite his usual disinterest in this country. Though Sargent named an exorbitant fee, Marquand accepted it, and in September 1887 Sargent duly arrived at the Marquands’ Newport, Rhode Island, “cottage,” inaugurating what he subsequently described as “the turning point in my fortunes.” The portrait that resulted—chaste and restrained, yet winning in its flattering characterization and virtuoso execution—is the antithesis of the loucheMadame X and established Sargent’s bona fides in the conservative cultural milieu of the American gentry. His friend Henry James wrote: “Mrs. M. will do him great good with the public—they will want to be painted like that—respectfully, honourably, dignement.”
It was the calculated success of such portraits that gave Sargent the freedom to pursue other works, such as An Interior in Venice, in certain respects more akin to the infamous French portrait than the respectable American one. Here one sees Sargent painting as he wishes, rather than as he feels he should to please his subjects. Artistically masterful, Interiorwas a failure in terms of its intended purpose as a gift to the Curtis family it depicts, who rejected it for its unbecoming portrayal of the redoubtable matron, Ariana Curtis. Still, Sargent’s deft evocation of the grand sala nobile of the Curtises’ Palazzo Barbaro had its fans among discerning aesthetes—including the artist. He later used it as his Royal Academy diploma picture, eliciting even greater enthusiasm from Henry James: “The Barbaro Saloon ... I absolutely and unreservedly adored.... I’ve seen few things of S’s that I’ve ever craved more to possess!”
Through December 11, An Interior in Venice and Elizabeth Allen Marquand face each other across Princeton’s Mary Ellen Bowen Gallery of American Art, epitomizing two different but equally compelling aspects of Sargent’s prodigious output.About the Princeton University Art Museum Founded in 1882, the Princeton University Art Museum is one of the nation’s leading art museums. Its collections feature more than 72,000 works of art ranging from ancient to contemporary, and concentrating geographically on the Mediterranean regions, Western Europe, Asia and the Americas. The Museum collections are particularly strong in Chinese painting and calligraphy, art of the Ancient Americas, and pictorial photography.
Committed to advancing Princeton’s teaching and research missions, the Art Museum serves as a gateway to the University for visitors from around the world. The Museum is intimate in scale yet expansive in scope, offering a respite from the rush of daily life, a revitalizing experience of extraordinary works of art, and an opportunity to delve deeply into the study of art and culture.
The Princeton University Art Museum is located at the heart of the Princeton campus, a short walk from the shops and restaurants of Nassau Street. Admission is free. Museum hours are Tuesday, Wednesday, Friday, and Saturday 10 a.m. to 5 p.m.; Thursday 10 a.m. to 10 p.m.; and Sunday 1 to 5 p.m. Free highlight tours of the collections are given every Saturday and Sunday at 2 p.m. The Museum is closed Mondays and major holidays.
Museum in the News
Princeton University Art Museum Presents: “Revealing Pictures: Photographs From The Christopher E. Olofson Collection”
New Jersey Monthly, February 2017
Artsy, January 24, 2017
GEORGE R. GOLDNER
CAA Reviews, July 28, 2016
Independence through Pottery: PUAM hosts an exhibit of works created by women for the Newcomb Pottery Enterprise
Princeton Packet, June 9, 2016
Recent Press Releases
American and European Modern Masters Featured in Two Exclusive Exhibitions at Princeton University Art MuseumDecember 13, 2017
July 6, 2017
March 30, 2017
Princeton University Receives $300,000 Grant from Mellon Foundation in Support of Art Museum Collections Research and DiscoveryFebruary 13, 2017
January 31, 2017