Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Orestes Pursued by the Furies - John Singer Sargent
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£37.00 GBP
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£37.00 GBP
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Beschrijving
A dramatic mythological scene depicting Orestes fleeing the Furies, rendered in a bold, decorative style by John Singer Sargent.
This work is part of the extensive mural cycle commissioned for the Museum of Fine Arts, Boston. John Singer Sargent, primarily known for his portraiture, turned his attention to classical mythology during his later career. The composition depicts the Greek tragedy of Orestes, who is tormented by the Furies following the matricide of Clytemnestra.
Sargent employs a flattened, frieze-like arrangement that draws inspiration from classical relief sculpture. The central figure of Orestes is caught in a dynamic, defensive posture, physically recoiling from the encroaching group of Furies. These figures are rendered with a sense of relentless movement, their arms outstretched and holding serpents, which serve as their traditional attributes. The colour palette is dominated by a deep, earthy red, providing a stark backdrop that pushes the pale, muscular forms of the figures forward.
Unlike his fluid, painterly portraits, this mural work demonstrates a more controlled, graphic approach. The figures are defined by clear outlines and a focus on anatomical structure, reflecting the artist's interest in the decorative potential of large-scale architectural painting. The border detail, which frames the scene, reinforces the sense of a contained, theatrical space. The work captures the psychological tension of the myth, focusing on the immediate physical confrontation between the protagonist and his supernatural pursuers. Sargent's ability to synthesise classical themes with a modern, decorative sensibility is evident in the rhythmic repetition of the Furies' forms and the balanced, albeit chaotic, distribution of the figures across the canvas. This piece remains a significant example of his late-period mural work, demonstrating his technical versatility beyond the confines of his society portraiture.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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Orestes Pursued by the Furies - John Singer Sargent
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
John Singer Sargent
Sargent was the best portrait painter of his generation and spent most of his career wishing he were not. He called portraits 'a pimp's profession' and repeatedly tried to stop accepting commissions. The money kept pulling him back.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
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Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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