Madame Cezanne in a Red Armchair by Cezanne in the…
Detail of Where Do We Come From? What Are We? Wher…
Detail of Mrs. Fiske Warren and her Daughter Rache…
Detail of Madame Cezanne in a Red Armchair by Ceza…
Detail of Carmelina by Matisse in the Boston Museu…
Carmelina by Matisse in the Boston Museum of Fine…
Turn in the Road by Cezanne in the Boston Museum o…
Detail of Reclining Nude by Matisse in the Boston…
Reclining Nude by Matisse in the Boston Museum of…
Composition with Blue, Yellow, and Red by Mondrian…
Detail of Still Life with Three Skulls by Max Beck…
Detail of Proposition Diurne by Delvaux in the Bos…
Proposition Diurne by Delvaux in the Boston Museum…
Nanny and Rose by Scott Prior in the Boston Museum…
Detail of Nanny and Rose by Scott Prior in the Bos…
Detail of Nanny and Rose by Scott Prior in the Bos…
Detail of Susie by Lucian Freud in the Boston Muse…
Detail of Turn in the Road by Cezanne in the Bosto…
Detail of Nature Unveiling Herself Before Science…
Nature Unveiling Herself Before Science by Barrias…
Dante and Virgil by de Triqueti in the Boston Muse…
Venus by Botero in the Boston Museum of Fine Arts,…
Detail of Venus by Botero in the Boston Museum of…
Mother & Child in Boat by Edmund Charles Tarbell i…
African Mask in the Boston Museum of Fine Arts, Ju…
Fragment of a Plaque in the Boston Museum of Fine…
Kylix with Dionysos by the Telephos Painter in the…
Detail of Where Do We Come From? What Are We? Wher…
Detail of Turn in the Road by Cezanne in the Bosto…
Detail of Mother & Child in Boat by Edmund Charles…
Detail of Where Do We Come From? What Are We? Wher…
Detail of Edith, Lady Playfair by John Singer Sarg…
Where Do We Come From? What Are We? Where Are We G…
Edith, Lady Playfair by John Singer Sargent in the…
Detail of Be in Love and You will be Happy by Gaug…
La Guerre et La Paix by Gauguin in the Boston Muse…
Detail of Helen Sears by John Singer Sargent in th…
Detail of Where Do We Come From? What Are We? Wher…
Detail of Be in Love and You will be Happy by Gaug…
Mrs. Charles E. Inches by Sargent in the Boston Mu…
Detail of Helen Sears by John Singer Sargent in th…
Detail of Be in Love and You will be Happy by Gaug…
Helen Sears by John Singer Sargent in the Boston M…
Be in Love and You will be Happy by Gauguin in the…
Flowers and a Bowl of Fruit on a Table by Gauguin…
Detail of Ravine by VanGogh in the Boston Museum o…
Detail of Where Do We Come From? What Are We? Wher…
Detail of Turkish Sentinel by Bargue in the Boston…
Detail of Ravine by Van Gogh in the Boston Museum…
Ravine by VanGogh in the Boston Museum of Fine Art…
Ravine by Van Gogh in the Boston Museum of Fine Ar…
Detail of Madame Roulin by Van Gogh in the Boston…
Detail of The Postman Joseph Roulin by Van Gogh in…
Detail of The Postman Joseph Roulin by Van Gogh in…
Detail of Madame Roulin by Van Gogh in the Boston…
The Postman Joseph Roulin by Van Gogh in the Bosto…
Detail of Madame Roulin by Van Gogh in the Boston…
Detail of Madame Roulin by Van Gogh in the Boston…
Homer: Epic Poetry by Puvis de Chavannes in the Bo…
Detail of Homer: Epic Poetry by Puvis de Chavannes…
Charing Cross Bridge, Overcast Day by Monet in the…
Detail of Charing Cross Bridge, Overcast Day by Mo…
Detail of Water Lilies by Monet in the Boston Muse…
Detail of Water Lilies by Monet in the Boston Muse…
Detail of Water Lilies by Monet in the Boston Muse…
Water Lilies by Monet in the Boston Museum of Fine…
Detail of Water Lilies by Claude Monet in the Bost…
Detail of Water Lilies by Claude Monet in the Bost…
Water Lilies by Claude Monet in the Boston Museum…
Morning on the Seine Near Giverny by Monet in the…
Poppy Field in a Hollow Near Giverny by Monet in t…
Detail of Poppy Field in a Hollow Near Giverny by…
Detail of Cap d'Antibes, Mistral by Monet in the B…
Detail of Cap d'Antibes, Mistral by Monet in the B…
Cap d'Antibes, Mistral by Monet in the Boston Muse…
Detail of Antibes Seen from Plateau Notre-Dame by…
Valley of the Creuse (Gray Day) by Monet in the Bo…
Detail of Valley of the Creuse (Gray Day) by Monet…
Detail of Antibes Seen from Plateau Notre-Dame by…
Detail of Valley of the Creuse (Sunlight Effect) b…
Valley of the Creuse (Sunlight Effect) by Monet in…
Antibes Seen from Plateau Notre-Dame by Monet in t…
Detail of Cap Martin, Near Menton by Monet in the…
Detail of Cap Martin, Near Menton by Monet in the…
Cap Martin, Near Menton by Monet in the Boston Mus…
Detail of Ships in a Harbor by Monet in the Boston…
Ships in a Harbor by Monet in the Boston Museum of…
Detail of Boulevard Saint-Denis, Argenteuil in Win…
Detail of Boulevard Saint-Denis, Argenteuil in Win…
Boulevard Saint-Denis, Argenteuil in Winter by Mon…
Detail of Boulevard Saint-Denis, Argenteuil in Win…
Sea Coast at Trouville by Monet in the Boston Muse…
Location
See also...
Keywords
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
596 visits
Mrs. Fiske Warren and her Daughter Rachel by Sargent in the Boston Museum of Fine Arts, June 2010
Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel
1903
John Singer Sargent, American, 1856–1925
Dimensions: 152.4 x 102.55 cm (60 x 40 3/8 in.)
Medium or Technique: Oil on canvas
Classification: Paintings
Accession Number: 64.693
Gretchen Osgood Warren, member of a prominent Boston family and an accomplished poet, posed with her eldest daughter at Isabella Stewart Gardner’s Fenway Court in Boston (now the Isabella Stewart Gardner Museum), where Sargent had set up a temporary studio. The works of art around the figures, including the intricately carved chairs and a fifteenth-century Madonna and Child (still visible in the Gardner’s Gothic Room), underscore the sitters’ refinement. Sargent emphasized the beauty and elegance of his sitters, positioning them in emulation of the Madonna and Child behind them, but their aloof expressions somewhat contradict their tender pose. Along with his sitters, Sargent’s free, confident, and expert technique is on display: note the silvery brushstrokes on Mrs. Warren’s dress and the thick slash of white, tinged with green, on the arm of the chair. The portrait’s imposing size, the Renaissance furniture, and Mrs. Warren’s formal pose evoke aristocratic portraits of the past. At the same time, Sargent’s loose painterly style is very modern. The composition would seem to illustrate a description of another Sargent portrait written by American critic Charles Caffin: both pictures feature “a lady [in the] full flavor of the modern spirit . . . never exceed[ing] the limits of good taste.” [1]
Margaret (Gretchen) Osgood Warren (1871–1961) was the eldest child of Hamilton Osgood and his wife Margaret Cushing Pearmain. She spent much of her childhood abroad while her father studied surgery in Germany and later worked with Pasteur in France (on their return, Dr. Osgood introduced Pasteur’s rabies antibodies to the United States). Gretchen and her sister were educated in languages, science, art, music, and literature, and scholarly pursuits sustained her for the rest of her life. In Paris she studied singing with Gabriel Fauré and drama with Benoît-Constant Coquelin (both friends of Sargent), although she was not permitted to appear on stage or to sing professionally. In 1891 she married Fiske Warren, the youngest son of Samuel D. Warren (founder of a prosperous paper manufacturing firm). Fiske Warren was an idealist, a supporter of dress reform and the single tax, and an anti-imperialist who garnered public attention for his involvement with the political affairs of the Philippines. He went to Manila in 1901–2 and moved the family to Oxford, England, in 1904–7; upon her return Gretchen Warren was offered, and declined, academic positions at both Wellesley and Radcliffe colleges.
During Sargent’s 1903 visit to the United States, Isabella Stewart Gardner invited him to paint at Fenway Court, the Venetian-style palace she had recently built in Boston’s Fenway neighborhood to house her art collection. Sargent made several portraits in its elaborate Gothic Room, each one reminding the viewers of the friendship between artist and collector, as well as the relationship between the historical masterpieces of the collection and the art of Sargent and his contemporaries. Although Fenway Court had opened to the public in February 1903, the Gothic Room remained off-limits. The room, on the third floor with large windows overlooking the central courtyard, provided an evocative setting for Sargent’s portraits; it was dominated by the artist’s 1888 portrait of Mrs. Gardner and was richly decorated according to her unique sensibilities with paintings, furniture, fabrics, and architectural elements.
The Warrens’ sittings were recorded in a number of photographs (now in the collection of the Isabella Stewart Gardner Museum). Sargent arranged Mrs. Warren and her daughter in grand Renaissance armchairs, and used an elaborate gilt candelabra and a fifteenth-century polychrome Madonna and Child as a backdrop. This sculpture inspired the unusual pose of mother and daughter: Rachel rests her
1903
John Singer Sargent, American, 1856–1925
Dimensions: 152.4 x 102.55 cm (60 x 40 3/8 in.)
Medium or Technique: Oil on canvas
Classification: Paintings
Accession Number: 64.693
Gretchen Osgood Warren, member of a prominent Boston family and an accomplished poet, posed with her eldest daughter at Isabella Stewart Gardner’s Fenway Court in Boston (now the Isabella Stewart Gardner Museum), where Sargent had set up a temporary studio. The works of art around the figures, including the intricately carved chairs and a fifteenth-century Madonna and Child (still visible in the Gardner’s Gothic Room), underscore the sitters’ refinement. Sargent emphasized the beauty and elegance of his sitters, positioning them in emulation of the Madonna and Child behind them, but their aloof expressions somewhat contradict their tender pose. Along with his sitters, Sargent’s free, confident, and expert technique is on display: note the silvery brushstrokes on Mrs. Warren’s dress and the thick slash of white, tinged with green, on the arm of the chair. The portrait’s imposing size, the Renaissance furniture, and Mrs. Warren’s formal pose evoke aristocratic portraits of the past. At the same time, Sargent’s loose painterly style is very modern. The composition would seem to illustrate a description of another Sargent portrait written by American critic Charles Caffin: both pictures feature “a lady [in the] full flavor of the modern spirit . . . never exceed[ing] the limits of good taste.” [1]
Margaret (Gretchen) Osgood Warren (1871–1961) was the eldest child of Hamilton Osgood and his wife Margaret Cushing Pearmain. She spent much of her childhood abroad while her father studied surgery in Germany and later worked with Pasteur in France (on their return, Dr. Osgood introduced Pasteur’s rabies antibodies to the United States). Gretchen and her sister were educated in languages, science, art, music, and literature, and scholarly pursuits sustained her for the rest of her life. In Paris she studied singing with Gabriel Fauré and drama with Benoît-Constant Coquelin (both friends of Sargent), although she was not permitted to appear on stage or to sing professionally. In 1891 she married Fiske Warren, the youngest son of Samuel D. Warren (founder of a prosperous paper manufacturing firm). Fiske Warren was an idealist, a supporter of dress reform and the single tax, and an anti-imperialist who garnered public attention for his involvement with the political affairs of the Philippines. He went to Manila in 1901–2 and moved the family to Oxford, England, in 1904–7; upon her return Gretchen Warren was offered, and declined, academic positions at both Wellesley and Radcliffe colleges.
During Sargent’s 1903 visit to the United States, Isabella Stewart Gardner invited him to paint at Fenway Court, the Venetian-style palace she had recently built in Boston’s Fenway neighborhood to house her art collection. Sargent made several portraits in its elaborate Gothic Room, each one reminding the viewers of the friendship between artist and collector, as well as the relationship between the historical masterpieces of the collection and the art of Sargent and his contemporaries. Although Fenway Court had opened to the public in February 1903, the Gothic Room remained off-limits. The room, on the third floor with large windows overlooking the central courtyard, provided an evocative setting for Sargent’s portraits; it was dominated by the artist’s 1888 portrait of Mrs. Gardner and was richly decorated according to her unique sensibilities with paintings, furniture, fabrics, and architectural elements.
The Warrens’ sittings were recorded in a number of photographs (now in the collection of the Isabella Stewart Gardner Museum). Sargent arranged Mrs. Warren and her daughter in grand Renaissance armchairs, and used an elaborate gilt candelabra and a fifteenth-century polychrome Madonna and Child as a backdrop. This sculpture inspired the unusual pose of mother and daughter: Rachel rests her
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.