Erica E. Hirshler – författare

John Singer Sargent’s approach to watercolour was unconventional. Disregarding late-nineteenth-century aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer in England, where Sargent spent much of his adult life, called his work ‘swagger watercolours’. For Sargent, however, the watercolours were not so much about swagger as about a new way of thinking. In watercolour as opposed to oils his vision became more personal and his works more interconnected. Presenting nearly 100 works of art, this book is the first major publication of Sargent’s watercolours in twenty years. Each chapter highlights a different subject or theme that attracted the artist’s attention during his travels through Europe and the Middle East: sunlight on stone, figures reclining on grass, patterns of light and shadow. Insightful essays by the world’s leading experts enhance this book and introduce readers to the full sweep of Sargent’s accomplishments in the medium, in works that delight the eye as well as challenge our understanding of this prodigiously gifted artist.

Sargent and Fashion explores the dynamic relationship of painting and dress — from portraits and performance, gender expression and the New Woman, to the pull of tradition and the excitement of new ideas."The coat is the picture," John Singer Sargent exclaimed to his fellow artist Graham Robertson in the summer of 1894, tugging a heavy overcoat ever more tightly around his sitter's slender figure. Sought-after by sitters for his ability to present to the world flattering and engaging likenesses, Sargent was simultaneously pursuing his own artistic vision.Rather than holding up a mirror to contemporary fashion, Sargent made fashion a part of his artistic repertoire. He often chose what his sitters wore, pinned their garments, or draped fabric around them, all with a view to creating confections to be recorded on canvas through his unrivalled artistic gifts.With contributions from many of the leading thinkers on Sargent and his world, and lavish reproductions of major portraits and exquisite costumes of the period, this publication offers a vital new perspective on one of the most famous and fashionable artists of all time.

A landmark retrospective that examines William Merritt Chase and his lasting contribution to the history of modern artThe history of modern art owes a great debt to William Merritt Chase (1849–1916), one of America’s influential artists and educators. Chase was a leading member of the international artistic avant-garde and was best known for his mastery of a wide range of subjects in oil and pastel, including figures, landscapes, urban park scenes, interiors, and portraits. As a teacher and founder of the Shinnecock Summer School of Art and the New York School of Art, Chase mentored a new generation of modernists, including Edward Hopper, Georgia O’Keeffe, and Joseph Stella.  A century after his death, the breadth and richness of Chase’s career are celebrated in this beautifully illustrated publication. Five essays by prominent scholars of American art offer new insights into Chase’s multi-faceted artistic practice and his position in the international cultural climate at the turn of the 20th century.Published in association with The Phillips CollectionExhibition Schedule:The Phillips Collection, Washington, D.C.(06/04/16–09/11/16)Museum of Fine Arts, Boston(10/09/16–01/16/17)Ca’Pesaro-Galleria Internazionale d’Arte Moderna, Venice(02/11/17–05/28/17)

A paperback edition of the book described by the New York Times Book Review as `thoroughly absorbing’. Henry James minced no words in crediting John Singer Sargent with a `knock-down insolence of talent.’ Among the painter’s many renowned works, few deserve the phrase as much as The Daughters of Edward Darley Boit, which stands alongside Madame X and Lady Agnew of Lochnaw as one of Sargent’s greatest images. The painting, depicting four young sisters in the family apartment (first exhibited at the Paris Salon of 1883, it predated by just one year the scandal of Madame X), both explores and defies convention, crossing the boundaries between portrait and genre scene, formal composition and casual snapshot. At its unveiling, one prominent critic rushed to praise Sargent’s stunning originality, while another dismissed the canvas as `four corners and a void.’ Using numerous unpublished archival documents, Erica E. Hirshler explores this iconic canvas from a variety of angles, discussing its innovative significance as a work of art, the people involved in its making and what became of them, its importance to Sargent’s career, its place in the tradition of artistic patronage, and its changing meanings and lasting popularity. Sargent’s Daughters is an evocative, multifaceted book that will transform the way you look at Sargent’s work, simultaneously illuminating a much beloved painting and reaffirming its mystery

Toward a new “New World”—the interwoven 18th-century Americas as viewed through fine art, religious items, furniture, decorative objects and more The story of 18th-century art from the Americas has traditionally emphasized a narrative of exceptionalism and independence. Yet the reality of this history is a far more nuanced story of encounter and interdependence across the geographic regions that are known today as North America, South America, Central America and the Caribbean. Drawing a cultural cartography with objects from the collection of the Museum of Fine Arts, Boston, Art in the Americas illustrates the exchange of ideas, materials, styles and techniques in the Western hemisphere. Family portraits by John Singleton Copley pair with pastel drawings of Black women in Guadeloupe; delicate blue-and-white Chinese export bowls sit alongside sterling silver Torah finials; an inlaid cabinet made in New Spain dazzles next to an Andean tapestry. Together with dozens of other objects, these works invert the typical dynamics of old world and new world; colonizer and colonized; tradition and innovation. Bolstered with essays by 27 writers, Art in the Americas reflects the range of voices who created fine and decorative arts in the 18th century, and those who study and present their legacy today.

John Leslie Breck (1860-1899) was one of the founders of the American art colony at Giverny and was among the earliest American artists to embrace the Impressionist style. He was also one of the first to exhibit his Impressionist paintings in America and helped to popularize the style during his years working in the Boston area in the 1890s. Between 1887 and 1888 he and a handful of his American colleagues began visiting the French village of Giverny, where they met Claude Monet and subsequently explored the new approach to painting that Monet had helped to pioneer. Breck's canvases from this period, loosely brushed and filled with light and color, are a marked departure from his earlier works that are characterized by darker tonalities and tighter brushwork that typified the preferred style of the era. When Breck returned to America in 1892, he applied what he had learned to paintings of the New England landscape and frequently exhibited his work. Inspired by The Mint Museum's 2016 acquisition of John Leslie Breck's canvas Suzanne Hoschede-Monet Sewing, this volume includes approximately 70 of Breck's finest works, drawn from public and private collections. Along with his scenes of Giverny and America, this volume features a selection of paintings from his sojourn in Venice in 1897. Always interested exploring in new ways of seeing the world, Breck had begun to explore aspects of post-Impressionism and Asian aesthetics in the years before his early death, at the age of 39, in 1899. This volume also features up to 36 additional comparative images, including details, photographs, and paintings by Monet and other leading American impressionists including Willard Metcalf, Theodore Robinson, Lila Cabot Perry, Childe Hassam, and Arthur Wesley Dow, presented throughout the main essays and chronology and appendices.

In this vivid account of one of Boston’s best-loved paintings, leading American art specialist Erica E. Hirshler illuminates the context of Childe Hassam’s 1880s city scene. With its rosy rust tones, nurturing woman, and quiet expanse of snow-laden park, today At Dusk (Boston Common at Twilight) seems to encourage reflection, yet Hirshler reveals the ways in which it heralded the emerging modern city, from subtleties about women’s place in the urban landscape to the uproarious clang of the streetcars that would have been heard on the busiest block in Boston. Enriched with related paintings and archival illustrations, this evocative volume explores the countered conventions and bulldozed buildings behind the canvas’s creation. Carefully researched and elegantly presented, the latest addition to the MFA Spotlight series will delight Hassam fans and history buffs alike.