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Old 11-13-2006, 08:48 PM   #141
Mike McCarty Mike McCarty is offline
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I think you're right about that Allan.

Quote:
He painted always like a scholar and a gentleman, though not like a great artist."
I still don't understand why they had to say such things in a man's obituary. In all my years I've seen a lot of good, bad and ugly people die, I've listened to many lives explained, and I don't remember hearing such harshness spoken in print after a person's death. When you're alive then all is fair game, but it just seems like a small thing to show a man's life work some respect on the occasion of his death.
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Old 11-13-2006, 09:09 PM   #142
Allan Rahbek Allan Rahbek is offline
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Quote:
Originally Posted by Mike McCarty
I still don't understand why they had to say such things in a man's obituary. In all my years I've seen a lot of good, bad and ugly people die, I've listened to many lives explained, and I don't remember hearing such harshness spoken in print after a person's death. When you're alive then all is fair game, but it just seems like a small thing to show a man's life work some respect on the occasion of his death.
Mike,
Maybe it was jealousy. If one is popular in his own time he will experience both pro's and contra's. His supporters would buy his art as long as he lived even though new trends had taken over. The critics would be frustrated and forget the good manners.
One of our own fine artists, Kr
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Old 11-17-2006, 11:01 PM   #143
Mike McCarty Mike McCarty is offline
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Here is "El Jaleo" by John Singer Sargent, 1882, 93" x 138"
With various studies of the same.
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Old 11-18-2006, 03:23 PM   #144
Tom Edgerton Tom Edgerton is offline
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Mike--

Leapfrogging backward, thanks for the Waterhouses (Waterhice?) (Waterhai?). He's always been a favorite though I disagree a little, respectfully, with Allan. For me, JWH's people are part of the style of the day, but a little less anonymous and stylistically codified than some of the other academic contemporaries like Alma-Tadema and Rosetti, et. al. Waterhouse's subjects look more like individuals to me, and less like types.

I can't quite find the words, but when I look at Waterhouse, I see a little looser approach to the technique, and a spirit that--for lack of a better term--I can only call "soul." He seems a little less constrained by the academic approach.

This is a really vague critique, I know.

As for "El Jaleo," well, Jeez, you gotta think Sargent tossed it off to needle every painter that would ever follow.

Thanks--TE
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Old 11-18-2006, 10:06 PM   #145
Enzie Shahmiri Enzie Shahmiri is offline
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Someone please explain why the lady in red in the back row. Why do you think he chose such a saturated red, rather then toning it down?
You think it has a purpose, if so what?

I love to see the sketches that precede the painting. It is always great to see how arrangements get changed to better a composition. Too bad there are not many color studies left behind.
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Old 11-18-2006, 10:28 PM   #146
Mike McCarty Mike McCarty is offline
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Trying to get as good a look as possible I've split the painting into left and right side. This painting, by the way, is located at the Isabella Stewart Gardner Museum in Boston, Ma.

Enzie,

I can only hazard a guess ... The bright red color seems like a reasonable choice in this theme, but I too puzzle as to why he chose to split the red image on the edge of the canvas. Maybe he thought the shot of color was necessary and felt that if he'd brought it into the body of the composition it may have drawn attention away from the dancer. I suppose that whatever he decided to do, by definition, becomes the right thing to do.

I thought the guy with his head tilted back was passed out drunk, but then I read that he was just shouting an "olay!" of sorts. Either one works for me.
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Old 11-18-2006, 10:43 PM   #147
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When I view this painting my eye travels in the fashion I've indicated below. There is a strong slanting cross tha dominates the canvas and then more subtle clues to draw and coax your eye around the painting. I, too, can not express the reason why he chose such a strong color for the dress although I believe I understand why the figure is split off, to show the whole danceer would give it too much importance and stagnate that part of the painting. I like to think the strong color helps draw the eye but the cut off dancer lets the eye pass.

I enjoy exploring the compositional themes here and I thank you, Mike, for all you have contributed.
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Old 11-18-2006, 11:24 PM   #148
Mike McCarty Mike McCarty is offline
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Thank you John, I have a large debt to repay.

Here's the Sitwell family by Sargent, also giving that burst of red.

And, a painting entitled "Spanish Dancer" by Sargent, and dated 1880-81, a couple of years prior to "El Jaleo." It seems that Sargent had been working up to this "El Jaleo" for some time.

And a couple more random paintings by Sargent:

1- Head of Ana, 9x10
2- Reconnoitering, 1911, 22x28.

There is a particularly good image of this painting at the ARC website here:

http://www.artrenewal.org/asp/databa...e.asp?id=27578

This is like a landscape double fudge sunday.
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Old 11-19-2006, 08:08 AM   #149
Cynthia Daniel Cynthia Daniel is offline
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Speaking of the color red in painting, I just ran across this last night. Be sure to scroll down and read the editorial reviews.

A Perfect Red: Empire, Espionage, and the Quest for the Color of Desire
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Old 11-19-2006, 11:09 AM   #150
Mike McCarty Mike McCarty is offline
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Cynthia,

I've always heard that it was the color purple, or aubergine, that was terribly rare and reserved for kings. Although, this may have been even further back in time.

Here are two more of Sargent's paintings that throw that splash of red into the periphery.

Rehearsal of the Pas de Loup Orchestra
Venetian Wine Shop 1898, 21x27
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