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Portrait Essay: James-Jacques-Joseph Tissot by Edgar Degas

December 13, 2015 / / 0 Comments

On display at the Metropolitan Museum of Art, is a portrait painting by the name “James-Jacques-Joseph Tissot”, a work by the renowned French artist, Edgar Degas. The large, approximately 59 by 44 inch painting, was completed circa 1867-1868 in Paris, France. The painting is a portrait of Degas’s friend and mentor, James Tissot, who himself was a French painter and illustrator. He sits in a room among a few different canvas paintings. Though the portrait- through the subject’s casual pose and through the seemingly haphazardly scattered objects- may, at first glance, give the impression of comfort and ease, I believe that, on the contrary, Degas uses a very exacting and calculated creative drawing structure to hint at portray a very precise message. Through this precision, Edgar delivers a message to the portrait’s audience, urging them to continue advancing the methods of art, thus passing on the responsibility of contributing to the art world.

What immediately attracts the eye is the subject of the painting, James Tissot. Upon first perusal, Tissot seems to be relaxed, casual, and even a bit unconcerned! His every-day outfit, reclined, comfortable position, and the jacket and hat propped hastily on the table, suggest true informality. However, this is not the case. In fact, with closer attention to detail, it is evident how Degas strategically orientated the placement of everything in the portrait. Rather than viewing the subject matter (Tissot) as an “informal” component, Tissot should be seen as exuding strength and authority, details that Degas cleverly and subtly incorporated. The staff in his hand indicates charge and control. It should be noted that this symbol of supremacy is perfectly centered (from width to width). Furthermore, Tissot’s eyes carry an almost “heavy” weight; speculators can almost “feel” the power of his intentional stare. All this precision and purposefulness was done so that speculators understand the implications and importance of the art and what art can accomplish. It is through this technique, that Degas bestows upon the viewer the responsibility of advancing art.

            Aside from the precise and calculated drawing of the subject of the portrait, Degas also calculated the multiple art pieces in the background. Though it may seem as though they were haphazardly chosen and placed, there is actually true purpose and significance in each of the canvas paintings. Two things should be noted: (1) the subject matter within each of the drawings and their historical significances and (2) their placement in the portrait. Right above Tissot is an exotic, Japanese-style picture; to the left and right are scenes of contemporary leisure; behind the easel is a sixteenth-or-seventeenth-century Venetian subject; and at center is a copy after a portrait of Frederick the Wise in the Louvre, formerly attributed to Lucas Cranach the Elder. Degas specifically chose these types of paintings for two reasons. One reason was to reflect the wide-ranging tastes in art that he shared with Tissot, but another reason was to offer speculators an array of different art pieces of different historical times. The portrait of Frederick the Wise represents the “oldest” painting and has religious implications as he was known to be one of the most powerful early defenders of Martin Luther, Lutheranism, and Protestant Reformation. Next in the historical “timeline” is the Venetian subject on the easel, which represents a new age of art and form. Afterwards are the two contemporary pieces, that represent a progression of art into a more modern form. Finally, there is the Japanse painting, which is considered to be the more modern painting. By incorporating different art styles from different times in history, Degas extrapolates on how art has a deep history, thus expanding upon this sort of “burden” (responsibility) that he is handing on to its speculators.

In terms of the placement of the paintings, it should be noted that, here too, there was much precision and planning involved. Firstly, there are two scenes of contemporary leisure, one on the left and one on the right. This evokes true symmetry and balance. It should also be noted that there are a lot of completed art pieces behind him, one piece that seems to be in-the-process (due to it being propped on the easel), and then at the front-most placed object is Tissot himself. In doing so, speculators appreciate the depth of past, present, and future. The past is represented by the paintings that have been completed (placed behind him), the present is represented by the art that is being created at the present time, and the future is represented by the Tissot himself as he is capable of the art of the future. It’s almost as though he “carries” all this artistic past with him and puts it on the audience as a responsibility. This only further demonstrates Degas’s message that this portrait is a “call for action” for speculators to consider their potential impact on the advancement of the arts.

In delivering this idea, I think it is very appropriate to mention why Degas chose to deliver such a message with a subject other than himself. If it is he who believes that speculators have a responsibility to the advancement of the arts, then why not draw a self portrait? By drawing Tissot, Degas demonstrates a communal agreement in his message. Thus, he creates somewhat of a support system or “team”, proving that he is not the only one that thinks the way he does.

            Through this portrait, Degas emphasizes his ideals and priorities. Although the portrait seems “informal” and “random” in terms of the subject and the complementing background, it is clear how Degas, in fact, used a very calculated technique and structure. Through this subtle and discreet technique, Degas hoped to expand upon the depth and power that art holds, and furthermore make its speculators responsible for continuing the progression and advancement of the arts.

Movie Review: Jafar Panahi’s Taxi

December 13, 2015 / / 0 Comments

Jafar Panahi’s Taxi: A Vehicle for Understanding Authentic Iranian Personalities

            Currently playing in theatres world wide, the 2015 documentary foreign film, Jafar Panahi’s Taxi, has received and continues to receive much acclaim for revealing the realistic mentalities of modern day Iranians who live in a place of political and religious oppression. Shot entirely from the inside of a taxi cab, director Jafar Panahi films himself pretending to be a taxi driver driving along the streets of modern Tehran, Iran. The camera, or “security device” as Panahi explains to one of his passengers, documents the conversations of the passengers, while allowing the audience to see the street views of this magnificent cultural Capital. The Iranian government forbids non-official public gatherings, however Panahi cleverly circumvents this rule by filming the entirety of the film in a taxi cab, a place where citizens can safely and freely talk about a wide range of social, political, and personal issues. With each passenger that enters his cab, another perspective of the Persian mentalities, values, and attitudes is revealed. This ‘Iranian personality’ was notably vivid with, among the various passengers, the two older superstitious clients, his niece (who is actually his niece), and the flower lady.

Jafar Panahi is a well known Iranian film director, screenwriter, and film editor, whose works focus mainly on illustrating the realities of Iranian lifestyles. Many of his works have been banned in his own country, because his works do not follow the strict guidelines and regulations of the Iranian government. In fact, in 2010 Panahi was sentenced to 6 years of imprisonment for filming anti-government propaganda, and then later sentenced to a 20-year long movie making ban, because the government felt that his works defied the rules of their government. Nevertheless, Panahi continues to create his films, though he must distribute them to different countries outside of Iran.

The camera is placed on the dashboard of Panahi’s car, and films his serene smile as he drives through the streets of Tehran picking up what seems to be nonprofessional actors. At one point, two modestly dressed older woman enter Panahi’s car holding a fish bowl. They begin ranting about how they MUST make it to Ali’s Spring by 12 noon, because “their life depends on it”. This was very comical, of course, because it represented the superstitious nature of some Iranians. Their character was brought out even more so when Panahi accidentally made a short stop that caused the fish bowl to crack, leaving the fish laying vulnerably on the floor of the taxi cab. The women worried endlessly “they’re going to die, they’re going to die!”, which just goes to show the stress they’re willing to go through for the sake of this superstition!

At another point, Panahi picks up his outspoken, yet incredibly loveable young niece, Hana. Her presence in the film was of utmost importance as she, in an effort to create her own film for a school project, delineates the Iranian restrictions of movie making. For example, she shares, among the many other restrictions, that one must respect the Islamic headscarf, show no contact between man and woman, avoid sordid realism, and replace the secular Iranian names of the good characters with the sacred names of Islamic saints. These restrictions show the challenges that many must face by living in Iran.

In another scene, Panahi picks up someone who Hana has nicknamed the “flower lady”. Panahi and the “flower lady” seem to be acquainted as they begin the ride making references to jokes from their past. The “flower lady” asks to be dropped off by the county jail where she would like to pay a visit to a girl who was arrested for being outside a volleyball stadium. She then mentions that she was suspended from practicing law for three years, but nevertheless remains an active role stating that she wont listen to the verdict until she gets the official notice! Only later did I learn (after conversing with some other Persian audience members after the movie) that this “actress”, was actually Nasrin Sotoudeh, who is a very well known human rights lawyer in Iran. She herself was imprisoned for six years because the Iranian government thought she was responsible of spreading propaganda and conspiring to harm state security. Evidently, the three characters mentioned, along with the many other passengers in Panahi’s film, uncover another layer of the modern Iranian. By filming in this creative way, Panahi helps us better understand the thoughts and opinions of the modern Iranian, a perspective that we generally are not exposed to!

I must say that my experience was greatly heightened because I myself am Persian. This helped me in two ways: 1. Understanding the language helped tremendously in fully understanding and appreciating the movie. The subtitles were good and accurate, but often times there is significance in the wording or in the WAY in which the language is spoken. For example, “Siah Nahmaney” in farsi literally translates to “black movie making”, which generally speaking means sordid realism. Knowing the true translation of the word, helped me better understand the significance and views of the Iranian government on movie making. They believe that sordid realism would show the “blackness” or the “darkness” of the country, which is something they fervently oppose. 2. Secondly, as a Persian, I was able to recognize the Persian music that played in the background. Some of the songs that were played are among the most popular, traditional songs played by highly admired singers like Hayedeh and Googoosh. Though it is a very slight detail, it is one that I can appreciate especially since these were songs that I grew up listening to. Audience members will still be able to appreciate the film, but I think that Persian/Iranian people may feel deeply connected to the implications of the film.

The film ended with a Farsi letter signed by Panahi explaining that due to his movie making ban (a surreal reminder of the rigid Iranian film restrictions), he is not able to officially recognize the names of the actors who made the movie possible, but nevertheless thanked all those who helped him in the process. His courageous and hard work has been recognized when his film won the Golden Bear award at the 65th Berlin Film Festival. Unfortunately, Panahi wasn’t able to leave the country to accept it, so his niece, Hana Saeidi, had to accept it on his behalf.

Overall, I am so grateful to have had the opportunity to discover the foreign film category. I thoroughly enjoyed watching this film, and I look forward to viewing more foreign films in the future! (I have my eyes on “Mustang”, a Turkish foreign film, currently playing at Lincoln Plaza Theatre!)

 

 

Kyle Abraham Reading Response

November 11, 2015 / / 3 Comments

When the word “dance” comes to mind, I usually think of dances that are unique in form and style, like ballet, breakdance, country dancing, or even folk dancing, among the many others types of dances. These dances are usually defined by their distinct characteristics: structured movements, specific type of music, and even rhythm.

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Breakdancing

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Ballet Dancing

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Country Dancing

 

When I first heard of “Black Dance”, there wasn’t really any specific dance moves that came to mind. After reading the article, “History of Black Dance: 20th-Century Black American Dance”, I quickly discovered how significant of an impact black culture had on dance, especially Katherine Dunham and Pearl Primus with their influence that inspired the emergence of black modern dance. After learning about a new dance category, I became curious as to what dance actually means, so I actually looked up what the word Dance, and I found that the Encyclopedia Britannica even refers to dance as a “nonverbal language”. So regardless of dance category, each dance must, without words, communicate a story, an emotion, or and idea.

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Kyle Abraham

But this is no simple task, and choreographer, Kyle Abraham, knows just how difficult it is to convey a message. Knowing he admits that conveying a story that makes sense for its audience without being too abstract is “tough”, makes me wonder how truly “tough” it will be, as a member of the audience myself, to fully interpret and understand the meaning of the dance. As opposed to many on stage productions (whether that be a play, opera, show, concert, etc) that incorporate verbal communication to help the audience grasp the meaning of the performance, dance does not have that element. This fact allows for a more leeway and range in the audience’s own subjective understanding of the dance, which I think can make the experience a very personalized one!

I’ve never been to a professional dance performance or event (other than my younger sister’s dance recitals years ago), so I’m curious to see what it’s like to interpret the meaning of show purely through the analyzation of body movements!

“Equality, Then What? New Plays Explore Modern Gay Life” Response

November 6, 2015 / / 3 Comments

Our world has come a long way, and with the recent Obergefell v. Hodges case where the United States Supreme course decided that the fundamental right to marry is guaranteed to same-sex couples, even more change has followed, and so has theatre. In the article “Equality, Then What? New Plays Explore Modern Gay Life”, Alexis Soloski writes of the changes in gay playwriting, specifically the differences between the pre and post-equality movement. With same-sex marriages now accepted, gays and lesbians are not as much of outsiders as they were prior. And since the hardships gay people faced pre-equality differ from the hardships they now face as an “accepted” community (accepted by law, at least), play writers felt a need to focus on a more modern view of what it’s like to live as a same-sex couple (specifically male couples) today.

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The playwrights Peter Parnell, left, and Mark Gerrard.

 

Gay play writers Mark Gerrard and Peter Parnell each have written plays, “Steve” and “Dada Woof Papa Hot” respectively, that are “distinctive less for their subject matter than for what they don’t contain”. Pre-equality plays usually highlighted the difficulties and perils that same-sex couples faced, with plots often including trauma, the distress of having to “hide in the closet”, threat of AIDs, and even self-loathing. “Steve”, opening November 18th, is a comic drama that highlights the anxieties of a post-equality couple raising a son conceived with a surrogate. “Dada Woof Papa Hot”, opening Noveber 9th, is a play about a married same-sex couple trying to navigate the relatively new territory of gay marriage and gay parenthood. Soloski adds the “plots and aguments that defined de
cades of gay playwriting (at least playwriting by and about white men) aren’t present.”

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A scene from “Steve”

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A scene from “Dada Woof Papa Hot”

That’s not to say that plays about same-sex couples have not existed before, just that they’re different. Plays like “Next Fall” by Geoffrey Nauffts and “Mothers and Sons” by Terrence McNally, are also about contemporary gay life, but the plays of Gerrard and Parnell are of a “post-equality moment”, focusing less on the difference than on the troubles with assimilation. Whereas the characters in Nauffts and McNally’s plays are called up to fight for tolerance and recognition, the characters in Parnell and Gerard’s plays are “too busy looking for great love and great sex and trying to get the kids to school on time”.

            Obviously this whole article highlights the change in society, and specifically change that has played into the realms of theatre. Change is inevitable. But I question whether all change is good. While I know that people accept change because usually it means its better, I don’t really know how I feel about the change in technology. We (and I know I’m not the first to say this) have become so reliant on technology. Of course, technology has had many positive effects, but I think that the technology of today has allowed us to become so self-sufficient that I fear the risk that we are missing out on important social interactions. People are so social on their handheld devices, that they’ve almost become anti-social. Technology has made it so easy to not have social interaction. Seamless, an online food ordering service, even had an advertisement in the Subway that read “Over 8 million people in New York City, and we help you avoid them all.” Even Starbucks has started a pilot project where they would charge a $2.00 transaction fee to deliver your Starucks order, so you don’t have to go downstairs and “risk” the chance of talking to people.
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Seamless advertisement in Subway

            At the end of the article, Gerarrd asked, a little anxiously, “What is it going to look like when
we’re grandparents? Because that doesn’t exist yet”. When I read that, I was able to truly appreciate the “new-ness” of this change in theatre. Just like the “new-ness” of same-sex marriages, so exists a “new-ness” in the technological advances of our time. There’s such a divide between our grandparents’ age and our age. So its true: our world has truly changed. In both cases (same-sex marriages and advances in technology) has been welcomed and somewhat accepted by the public. I too, welcome the idea of change, but I think that in regards to technology, society may be a bit too accepting.

Turandot by Giacomo Puccini Reading Response

October 27, 2015 / / 4 Comments

Unknown The Opera, Turandot, by Giacomo Puccini (and later completed by Franco Alfano) tells the story of a cod-hearted Princess named Turandot who poses a challenging riddle to the people of Violet City. She presents three riddles, stating that the person who will be able answer all three riddles correctly, will be able to marry her. Anyone who answers incorrectly would be put to death. An Unknown Prince confidently and correctly answers the three riddles, thus gaining the right to marry Princess Turandot. The princess suddenly breaks down in despair over this occurrence, pleading with her father, Emperor Altoum, not to “cast y
our daughter [herself] into the stranger’s arms!” However, the father makes it clear to Princess Turandot that the Unknown Prince risked his life for her, and so she must follow through with her promise! The Unknown prince then poses a riddle of his own: If she can find out what his name is before dawn, the
n he will agree to meet his death. And if not, she must marry him. Princess Turandot is unable to do so, and therefore is forced to marry Prince Calaf.

Unknown-1What was so interesting about reading this Opera was to see how the idea of Love isn’t glorified with positive connotations as it may be in other stories. In this Opera, Love is
perceived as somewhat of a burden, leading to death, torture, suicide, and unhappiness. It’s a tool that can be used and is used negatively. In Act One, a prince, who attempts to attain Princess Turandot’s love, incorrectly answers the riddle and thus must be executed. Love is achievable only at risk of death. Later on in Act Three, Princess Turandot’s servants threaten Prince Calaf himself, and then later on threatens Liu (a loyal slave girl from Timur’s palace) and Timur (Prince Calaf’s father), to find out his name. To escape love (something that would usually be highly regarded), the servants are willing to threaten and torture people! Liu herself loved Prince Calaf, so much so that she committed suicide to protect him! And finally, when Princess Turandot fails to find out Prince Calaf’s name and is forced to marry him, she reacts negatively and actually weeps about this event! As we see, this play uses Love to mask very negative and dark actions, making it seem like a very evil and bad concept.

What is so tragic, though, is that bad things (suicide) happen to the people who truly love, and good things (marriage) happen to those who didn’t love! Liu ends up killing herself for love, and Princess Turandot get’s love (love the idea and Love the prince) without even loving! This play links love with tragedy; attaining love requires so many bad things to happen! Love (the idea and the man) is perceived as a negative power as Princess Turandot is conquered by it! The Opera ends with Princess Turandot weeping about her future, leaving the audience feeling bittersweet about the notion of Love.

After watching a few segments of the Opera on YouTube, I found that there is a lot of focus on the musicality of the performance. Music and song is literally the language of the play. Emotions, dialogues, opinions (and more!) are all delivered through the music! There is immense power in the music as it truly makes the audience understand the plot through the feelings and emotions that the music and singing evokes! I haven’t been to many operas, and I’m excited to see it next week!

Old Masters and Contemporary Artwork: An Unusual Juxtaposition

October 9, 2015 / / 8 Comments

Art is very deeply rooted in Italy. Italian artists like Michelangelo, Raphael, and Leonardo da Vinchi (often thought of as “The Great Masters”) are the first few that come to mind when people think of the Renaissance. Each one of them have had significant impact on the advancement of art in our history. Their artwork, among other great Italian attractions, has attracted millions of tourists to Italy every year, making Italy the fifth highest tourist earner in the world! Lately, however, high-end fairs that specialize in old masters and antiques have been having trouble retaining and attracting buyers. Which is exactly why Fabrizio Moretti, an old master paintings dealer, decided to invite Jeff Koons, an American artist, to Florence to cut the opening ribbon at the 29th edition of the Biennale International dell’Antiquariato di Firenze and to show two of his sculptures.

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Italian poster advertising the appearance of Koons’ artwork in Italy

Scott Rayburn opens his New York Times article, Florence Turns Up the Celebrity Heat,  by describing the strange and bizarre placement of Jeff Koon’s sculpture, “Pluto and Prosperina”, outside of the Palazzo Vecchio, which is Florence’s town hall. The piece was strategically placed in between masterpieces by the renown Donatello and Michelangelo, thereby creating a true juxtaposition between the art of the old masters and that of the contemporary. But that stark contrast was exactly the point. Dario Nardella, Florence’s mayor, thought that doing so would “broaden international interest in Italy’s oldest and most prestigious fair devoted to its own historic art!”

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Koons’s “Pluto and Prosperina” (center) placed between copies of artwork by Donatello and Michelangelo, at the Palazzo Vecchio in Florence, Italy

 

Both of Koons’s works of art, “Pluto and Prosperina” and “Gazing Ball (Barberini Faun),” are inspired by artwork from the past, specifically artwork by Bernini and Donatello, respectively. When asked about inspiration for his artwork, he said “The way art functions in its connective power is very similar to our genes. Picasso will be referencing El Greco and El Greco will be making another reference. It’s a community. Information is transferred.”

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“Pluto and Prosperina” by Koons. Placed outside the Town Hall.

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“Gazing Ball (Barberini Faun)” by Koons. Placed inside the Town Hall.

I think Koons makes an interesting point in connecting his artwork with the past. There is something very empowering to think of art as a connection or “linkage” to the artists that were around prior to him, while still being able to advance it in some way or another. What I believe is so special about the art field, unlike other fields or industries, is that the possibilities in which people can create art are endless. It’s impossible for the arts to “die out”, as people will always be finding new ways to present their creativity. Though Italy currently struggles to attract buyers, I think that the combination of artwork from two time periods (Michelangelo and Koons, for example) provides an interesting perspective on the advancement and development of art (while still staying connected to past artists!) and will hopefully help boost the interest of buyers from around the world.

Spring Awakening Play- Reading Response

October 4, 2015 / / 2 Comments

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Based on the discussion we had in class on Wednesday last week, where we talked about the censorship and the history of that time period etc, I had a certain expectation for the play. I thought that by including certain taboo subjects in the play, Wedekind was trying to maybe not normalize, but perhaps publicize and expose certain issues that our world faces today. I thought that he would accomplish this my making all the characters be overly-accepting of such taboo topics like rape, suicide, and abortion, to name of few. But while reading the play I found that the parents took on the more “reserved” and “traditional” ways of thought. I felt that Wedekind created a discord between the parental figures and the child figures. The parents approach these controversial (at the time) topics by “putting them under the rug” or avoiding the conversation altogether, while the children are inquisitive and speak openly about those same topics.

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We get a glimpse of this discord from the very beginning of the play, in Act 1, scene 1! When Wendla speaks of having thoughts about death, the mother, Frau Bergmann, immediately changes the topic by saying “Go hang the long dress up in the closet. Put on your short dress again, in God’s name!— I will put another depth of ruffles on it”. The parental figure dodges the topic, and speaks of other trivial things!
And again in Act 2, scene 1, the scene starts with Melchior, his mother, and Moritz hanging out by Melchior’s house. Frau Gabor, Melchior’s mother, who is one of the more “liberal” parents, makes a distinction between whats appropriate for children and what is not. She herself said that she prefers that children not read/be exposed to the topics in Faust (which includes selling one’s soul to the devil), when she said “I only want to warn you that even the best can do one harm when one isn’t ripe enough in years to receive it properly”. She isn’t against the children EVENTUALLY reading such a text, but she is sure to outline the distinction between child and adult.
In a third example, in Act 2 scene 2, Wendla talks to her mother, Frau Bergmann, and asks, essentially, about how children are produced. She pleads with her mom saying “Whom in the world should I ask but you!… How does it happen?— How does it all come about?” And when her mother finally agrees to explain, she says that “In order to have a child—one must love—the man—to whom one is married”, which is clearly not the correct answer. Her mother is unable to expose this “gap of knowledge” that separates child from parent (or child from adult).
In all three clarity, the disparity is clear. The parents try to “hush” away the controversial topics, while the children try to understand it!
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Also while reading the play, I couldn’t help but think about the play being an analogy. The children are to the play, as the parental figures are to that time period. Meaning that when I look at the play from within, I feel that the children’s “voice” in the story is against the parental “voices”, just as the overall play’s “voice” (of being so controversial) were against the conservative “voice” of the time period. Its a bit confusing to explain, but its sort of the idea I got while I read the play.
The play was very interesting to read, and I am looking forward to seeing the play on stage on Thursday evening! 🙂

Every Portrait/Sargent Made a Scene Reading Response

September 10, 2015 / / 2 Comments

In Debra Brehmer’s article, “Every Portrait Tells a Lie” she dives right in by saying that every portrait tells a story that is somewhat a lie, meaning that any presentation is not an accurate account of what actually happened at the moment, but rather an attempt at capturing a certain moment. Brehmer then refers to a personal photo of her and her brother sitting in front of a Christmas tree. Though the photo makes them appear happy, Brehmer writes how it is a false representation of what had actually occurred. She says that her brother had probably done something “nasty” right before the photo, but because she had to stage a smile, it would appear otherwise. Her word choice of “manufactured” (in the sentence: “I knew, even at a young age, that we were participating in a history that was manufactured”), truly captures her feelings regarding portraitures. Its as though the subjects of the photo were some industrial product that was simply being created or produced by the artist’s (or photographer’s) judgment of how s/he would like the portrait/photo to appear. Brehmer also states a goal of portraitures, that it “tries to hold on to what can’t be contained”, that though the moment has past, there is still a reminder that exists to represent it. Some artists broke away from the tradition of “frozen or dead” portraits, and tried to keep the subject of the portrait alive. By the time, I came to the end of this article, I found myself looking at the last Christmas photo in a different light, asking myself how truly happy the family was at the moment and if the photo was in any way an accurate representation of what the photo seems to present.

 

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Upon reading “How John Singer Sargent made a scene” by Sarah Churchwell, I understood that Sargent had been influenced by many other great artists, but that he redefined it and produced many pieces of artwork that were considered very modern for their time. In his piece “Lily, Lily, Rose”, Sargent’s “chief aim… was to capture en plein air the transient quality of ‘fugitive evening light’”. Unlike other “posed” or “staged” photos of the time, here we see how Sargent tried to create a moment in real time. The girls in the photo seems to be right in action, and that is essentially what Sargent was trying to capture. Even in the portrait “Robert Louis Stevenson and His Wife”, the scene seems to be very in-the-moment, and not posed. The husband is captured mid-walking, and the wife (due to the murkiness of her outfit) seems to be shifting constantly in her seat. Both these portraits seem to capture a moment in it’s real time, as opposed to having them be posed.

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Though Sargent’s work had its critics, its clear that he was able to take ideas from other people and create something new. He is credited for many great and accomplished works, and even more so for showing us what modern would look like.

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