John Singer Sargent, whose name would one day resonate with the annals of art history, began his artistic journey in the picturesque locales of Florence. As a young budding artist, Sargent had the privilege to briefly associate himself with the Accademia di Belle Arti in Florence from 1870 to 1873. But what drew him to this esteemed institution? And how did it shape the initial years of his career?
Deer by John Singer Sargent 1872 Sketch and Charcoal Study
A Glimpse into the Accademia di Belle Arti
|Frau von Allmen and an Unidentified Man in an Interior, verso (from "Splendid Mountain Watercolors" Sketchbook) by John Singer Sargent 1870 courtesy Metropolitan Museum, New York
Nestled in the heart of Florence, the Accademia di Belle Arti stood as a beacon for traditional academic art during the 19th century. The institution, rich with a history of nurturing talents, emphasized the essence of classic European art standards. Young aspirants, much like Sargent, were drawn not just to the rigorous training the academy offered but also to the immersive experience of being in a city that once cradled the Renaissance.
Sargent's Florence Days
Engelsburg by John Singer Sargent 1872
Although Sargent's time at the academy was brief, dating around the early 1870s through to 1873, it played a role in introducing him to the meticulous attention to detail that classical European art demanded. While details about the exact duration of his enrollment remain scant, what we do know is that his association with the Accademia was a stepping stone to his extensive training in Paris.
The Weight of Renaissance Giants: Michelangelo and Leonardo da Vinci
Florence is the cradle of the Renaissance, an era that redefined art, culture, and intellectual pursuits. It was here that Michelangelo sculpted 'David' and Leonardo da Vinci painted the 'Annunciation'. For a budding artist like Sargent, the city was akin to a living museum, with every corner echoing the genius of these masters.
Absorbing the Genius: While these Renaissance icons worked centuries before Sargent's time, their influence permeated through the city's very air. Their focus on realism, attention to detail, and the exploration of human anatomy likely had a profound impact on Sargent's own style. Just as Leonardo meticulously studied the human form, so too did Sargent in his portraits, capturing the very essence of his subjects.
Learning from the Masters: Beyond the specific techniques, studying the works of such masters would have instilled in Sargent a sense of dedication, discipline, and the pursuit of perfection.
A City Sculpted in Art: Florence's Architecture and Landscapes
Florence is not just home to art; it is art. From the majestic Duomo to the historic Ponte Vecchio, the city's architectural marvels offer a visual treat.
The Bridge of Sighs by John Singer Sargent c. 1903 Brooklyn Museum
Nature Meets Nurture: The serene landscapes, from the rolling Tuscan hills to the gentle flow of the Arno River, provided a picturesque backdrop. Sargent, who didn't confine himself to portraiture alone, often found inspiration in these scenes, merging natural beauty with his own interpretative style.
Architectural Admiration: The juxtaposition of Gothic, Renaissance, and Romanesque architectures in Florence would have offered Sargent varied perspectives, allowing him to experiment with light, shadow, and structure.
Canvasing Florence: Sargent's Painted Ode to the City
While Sargent is best known for his portraits, his Florentine works reveal a deep admiration for the city.
An Artistic Exploration: In his paintings, Sargent captured the city's ambiance, from bustling market scenes to quiet, sun-dappled courtyards. These artworks not only showcased his versatility but also his ability to convey emotion and atmosphere.
Capturing Essence: Just as he captured the soul of his portrait subjects, Sargent managed to depict the essence of Florence – its spirit, its rhythm, and its timeless beauty.
"Fumée d'Ambre Gris" (c. 1872)
Shared Artistic Pursuits:
Given Florence's status as a hub for artists from all over the world, it's likely that Sargent would have met other young, budding artists, some of whom might have become lifelong friends or at least significant acquaintances. Engaging with contemporaries would have provided him with a sense of camaraderie and shared experience.
Street in Venice by John Singer Sargent 1882 courtesy National Gallery of Art, Washington, D.C.
John Singer Sargent formed a friendship with the American painter Frank Duveneck during the late 1870s. They met in Europe, where both were part of the American expatriate artist community. Specifically, they often crossed paths in Venice, a city that was a magnet for artists of the time.
Frank Duveneck was known for his bold brushwork and was part of the group of American artists who brought the more robust, direct painting techniques of European modernism to American art. Their interactions were significant in the sense that they shared techniques, learned from each other, and were part of a larger movement of artists pushing the boundaries of traditional academic art.
Duveneck's influence on Sargent was mutual; both benefited from their exchanges. They would often sketch and paint together, particularly in Venice, capturing the city's unique light, waterways, and architecture. Through such collaborations and exchanges, Sargent's style evolved, integrating some of the more modern and direct painting techniques that were gaining ground at the time.
In Reflection: The Essence of a Master's Beginning
Florence, with its intoxicating blend of art, culture, and history, provided the perfect backdrop for the formative years of John Singer Sargent. Through the ornate hallways of the Accademia di Belle Arti to the atmospheric streets that whispered tales of Renaissance maestros, Sargent was not just learning to paint; he was learning to see, to feel, and to interpret the world around him. The influence of the city's titanic past artists and its very tangible present melded seamlessly with his innate talent, pushing him towards the greatness for which he would later be renowned.
Venetian Onion Seller by John Singer Sargent 1880 - 82 Thyssen-Bornemisza Museum, Madrid, Spain
Moreover, it wasn't just the art and architecture of Florence that left its mark on Sargent, but also its vibrant community of artists. In the camaraderie of peers like Frank Duveneck, he found both challenge and companionship. Their shared experiences, collaborative endeavors, and mutual respect and learning highlight the symbiotic relationships that can thrive in the art world.
As we reflect upon Sargent's time in Florence, it becomes evident that this chapter was not merely an educational stint for the artist. It was a period of profound personal and artistic discovery. Here, in the embrace of Florence, John Singer Sargent laid down the foundational strokes of a career that would, in time, paint him into the annals of art history as one of its brightest luminaries.
Interested in more about John Singer Sargent click here to learn more about our virtual art tour