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Adair made various bequests in his will, dated 9 January 1770 and proved 24 April 1771, including a book of drawing to his son, William Robert Adair, on condition that he enter into partnership with his mother, Mary.
The Old Assyrian period (ca. 2000–1600 B.C.) is the earliest period for which there is evidence of a distinct culture, separate from that of southern Mesopotamia, flourishing in the city of Ashur (also called Qal‘at Sherqat), located on the Tigris River in modern Iraq.
Jun 9, 2016 · The rediscovery of the frame as part of the whole work of art, able to interpret the picture, emphasize the composition, or provide a decorative transition to the outer world, also brought the realization that there were no rules as to how these borders could be used.
- Introduction
- Sargent in Paris
- Sargent’s Early Years in London
- Sargent in America
- Sargent’s Travels in Europe
- Sargent’s Use of Antique Frames
- The Louis Quatorze and The Louis Quinze
- The Taste For The Italian Baroque
- 'Sargent Oak Pattern'
- Sources
John Singer Sargent (1856-1925) took a strong interest in the framing of his pictures, but then this was something of a necessity for any portrait painter. Born in Florence to American parents, his formative years as an artist were spent in Paris where he trained under Carolus-Duran. He moved to London in 1886 and achieved great success as a portra...
The frames from Sargent's Paris years, 1874 to 1885, remain to be documented. They depend heavily on standard French types of the period, judging from the relatively few early pictures which retain their original frames. In the Luxembourg Gardens of 1879 (cat.721; Philadelphia Museum of Art) has a typical heavy Salon frame in the Louis XIV style, o...
Portrait painting was an international business for Sargent and he needed to be able to rely on the services of experienced framemakers. In London in 1887 he can be found using a long-established craftsman, W.A. Smith (c.1828-1909) of 20 Mortimer Street, Regent Street, better known for his work for G.F. Watts [note 6]. Sargent came to prefer Charle...
Many of Sargent's American sitters sat to him in Paris or London and no doubt some of these portraits were framed in Europe rather than America. Sargent's visits to America were sporadic: his first as a practising artist, made in 1887, was followed by others in 1890, 1895, 1903, 1916 and later. Sargent needed to know who to turn to for the best wor...
Sargent was born in Florence and travelled extensively in Italy, Switzerland and France as a boy. An early sketchbook, dating to a visit to Venice in May 1870 when he was 14, bears the label of the supplier, Giovanni Brizeghel in the Merceria dell’Orologio (Metropolitan Museum of Art, see note 21). As a mature artist, Sargent travelled extensively ...
In London in the 1890s Sargent showed a taste for antique French and Italian frames. "Today I saw an old frame which I think might suit the picture", he wrote to Sir Andrew Agnew in 1893 about the portrait of his wife, Lady Agnew (cat.286; National Gallery of Scotland, Edinburgh), a painting which helped establish Sargent's reputation in London [no...
The taste for French revival patterns - the terms Louis Quatorze and Louis Quinze were used very loosely - was established in England in the early 19th century and later renewed in even more resplendent form in the frames used by Duveen and Agnew’s for selling Old Masters to rich collectors in America and Britain - and used by Sargent and a few oth...
Both in Paris and in London Sargent chose some Italian 17th-century frame models. Particularly common are his richly finished frames with ornate bands of overlapping leaves, fruit and berries in high relief, described here from their profile as 'cushion' frames. These frames are generally of reverse section, that is, with the most prominent mouldin...
Sargent's charcoal portrait drawings and his watercolour landscapes and portraits were usually framed in simple narrow gilt mouldings (nos. 103, 105, 108-9, 130 and 132 in the 1998 Sargent exhibition, all from private collections). An early example, Harley Granville-Barker of 1900 (National Portrait Gallery, London), is reproduced here in a frame m...
This survey is an expanded version of a text first published in September 1998, inspired by the major Sargent exhibition in London, Washington and Boston in 1998-9. It was revised in January 1999, May 2002 and January 2003. It has not been possible to study more than a very few of the frames from the reverse. The standard catalogue is Richard Ormon...
Aug 10, 2021 · Adamerovich’s drawing-sculpture hybrids seem to hail from another universe where the boundaries between organic and human-made, animate and inanimate, and picture and frame no longer exist. They would be at home among the human candelabras in Jean Cocteau’s Beauty and the Beast.
In this section, we will discuss the three categories of common group roles that were identified by early group communication scholars. These role categories include task-related roles, maintenance roles, and individual roles that are self-centered or unproductive for the group (Benne & Sheats, 1948).
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