อ้างอิง ของ จอห์น ซิงเกอร์ ซาร์เจนต์

  1. "While his art matched to the spirit of the age, Sargent came into his own in the 1890s as the leading portrait painter of his generation". Ormond, page. 34, 1998.
  2. "At the time of the Wertheimer commission Sargent was the most celebrated, sought-after and expensive portrait painter in the world". New Orleans Museum of Art
  3. Stanley Olson, John Singer Sargent: His Portrait, St. Martin’s Press, New York, 1986, p. 1, ISBN 0-312-44456-7
  4. Olson, p. 2
  5. Trevor Fairbrother, John Singer Sargent, Harry N. Abrams, New York, 1994, p.11, ISBN 0-8109-3833-2
  6. Olson, p. 9
  7. Olson, p. 10
  8. Olson, p. 15
  9. Olson, p. 18
  10. Carl Little, The Watercolors of John Singer Sargent, University of California Press, Berkeley, 1998, p.7, ISBN 0-520-21969-4
  11. Olson, p. 23
  12. Olson, p. 27
  13. Olson, p. 29
  14. Elizabeth Prettejohn: “Interpreting Sargent”, p. 9. Stewart, Tabori & Chang, 1998.
  15. Elizabeth Prettejohn: Interpreting Sargent, page 9. Stewart, Tabori & Chang, 1998.
  16. 1 2 Fairbrother, p. 13
  17. Prettejohn, page 14, 1998.
  18. 1 2 Little, p. 7
  19. 1 2 Olson, p. 46
  20. 1 2 Olson, p. 55
  21. Fairbrother, p. 16
  22. Prettejohn, page 14, 1998.
  23. Prettejohn, p. 13, 1998.
  24. Olson, p. 70
  25. Olson, p. 73
  26. Fairbrother, p. 33
  27. Olson, p. 80
  28. Ormond, Richard: "Sargent's Art", “John Singer Sargent”, pp. 25-7. Tate Gallery, 1998.
  29. Ormond, p. 27, 1998.
  30. Fairbrother, p. 40
  31. Richard Ormand and Elaine Kilmurray, “Sargent: The Early Portraits”, Yale University Press, New Haven, 1998, p.114, ISBN 0-300-07245-7
  32. Fairbrother, p. 45
  33. Olson, p. 102
  34. Ormand and Kilmurray, p.113
  35. Fairbrother, p. 47
  36. Fairbrother, p. 55
  37. Cited in Ormond, pages 27-8, 1998.
  38. Ormond, p. 28, 1998.
  39. Fairbrother, p. 43
  40. Olson, p. 107
  41. Fairbrother, p. 61
  42. Olson, plate XVIII
  43. Ormand and Kilmurray, p. 151
  44. Fairbrother, p. 68
  45. Fairbrother, pp. 70-2
  46. Olson, p. 223
  47. Ormand and Kilmurray, p.xxiii
  48. Fairbrother, p. 76, price updated by CPI calculator to 2008 at http://data.bls.gov/cgi-bin/cpicalc.pl
  49. Fairbrother, p. 79
  50. Ormond, page 28-35, 1998.
  51. John Singer Sargent Virtual Gallery, "Robert Lewis Stevenson and his Wife"
  52. 1 2 Ormond, page 169-171, 1998.
  53. Ormond, page 148, 1998.
  54. Fairbrother, p. 97
  55. Little, p. 12
  56. Fairbrother, p. 101
  57. Fairbrother, p. 118
  58. Olson, p. 227
  59. Fairbrother, p. 124
  60. "In the history of portraiture there is no other instance of a major figure abandoning his profession and shutting up shop in such a peremptory way." Ormond, Page 38, 1998.
  61. Kilmurray, Elaine: "Chronology of Travels", “ซาร์เจนต์ Abroad”, page 242. Abbeville Press, 1997.
  62. Fairbrother, p. 131
  63. Fairbrother, p. 133
  64. Currier Museum of Art, "“Grace Elvina, Marchioness Curzon of Kedleston”" retrieved 4/5/2007 Currier Museum
  65. Little, p. 11
  66. Prettejohn, page 66-69, 1998.
  67. Fairbrother, p. 148
  68. 1 2 Ormond, page 276, 1998.
  69. Little, p. 17
  70. John Singer Sargent Virtual Gallery, "Royal Society of Portrait Painters"
  71. The Sargent Murals at the Boston Public Library
  72. Little, p. 135
  73. Kilmurray, Elaine: "Traveling Companions", “Sargent Abroad”, page 57-8. Abbeville Press, 1997.
  74. Kilmurray: "Chronology of Travels", page 240, 1997.
  75. Fairbrother, Trevor “John Singer Sargent: The Sensualist” (2001)ISBN 0-300-08744-6, Page 139, Note 4
  76. Little, p. 141
  77. Ormond, page 14, 1998.
  78. This from Auguste Rodin, upon seeing “The Misses Hunter” in 1902. Ormond and Kilmurray, “John Singer Sargent: The Early Portraits”, page 150. Yale University, 1998.
  79. Rewald, John: “Camille Pissarro: Letters to his Son Lucien”, page 183. Routledge & Kegan Paul, 1980.
  80. Prettejohn, page 73, 1998
  81. Sargent's friend Vernon Lee referred to the artist's "outspoken love of the exotic...the unavowed love of rare kinds of beauty, for incredible types of elegance." Charteris, Evan: “John Sargent”, page 252. London and New York, 1927.
  82. Prettejohn, page 73, 1998.
  83. Fairbrother, p. 140
  84. Fairbrother, p. 141
  85. Fairbrother, p. 145
  86. “The Age”, December 3, 2004

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