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John Singer Sargent: Dolce Far Niente

John Singer Sargent (American, 1856–1925). Dolce Far Niente, circa 1907. Oil on canvas. Brooklyn Museum, Bequest of A. Augustus Healy, 11.518

John Singer Sargent (American, 1856–1925). Dolce Far Niente, circa 1907. Oil on canvas. Brooklyn Museum, Bequest of A. Augustus Healy, 11.518

Claude Monet: The Doge's Palace in Venice

Claude Monet (French, 1840–1926). The Doge’s Palace in Venice, 1908. Oil on canvas. Brooklyn Museum, Gift of A. Augustus Healy, 20.634

Landscapes from the Age of Impressionism

February 3–May 13, 2007

This exhibition of some forty paintings includes many of the finest examples of mid-nineteenth through early twentieth-century French and American landscape in the Brooklyn Museum’s collection. The works presented offer a broad survey of landscape painting as practiced by such leading French artists as Gustave Courbet and Claude Monet and their most significant American followers including Frederick Childe Hassam and John Singer Sargent.

Among the earliest works in the exhibition are Charles-François Daubigny’s The River Seine at Mantes (1856), and Gustave Courbet’s Isolated Rock (1862), which reveal the impact of plein-air sketching practice on landscape art of the period. Heirs to this plein-air tradition, French Impressionists Claude Monet, Alfred Sisley, Camille Pissarro, and Gustave Caillebotte painted highly elaborated “impressions”—the seemingly spontaneous, rapidly executed landscapes and cityscapes that prompted the name of their movement. Monet is represented here by several works including The Doge’s Palace in Venice (1908), The Islets at Port-Villez (1897), and Houses of Parliament, Effect of Sunlight (1903).

Following in the footsteps of the French archetypes, beginning at mid-century many American painters sought to improve their skills and find inspiration in Paris and its environs, attending French art academies and frequenting the painting locations made famous by their Barbizon and Impressionist predecessors. Some of the Americans had direct contact with leading French landscape painters, sharing landscape sites or seeking informal guidance from admired mentors.

The majority of the American paintings on display depict American locales: beaches, factories, tenements, and notable subjects such as Central Park in works distinguished by brilliant colors and lively, broken brushwork, including Williams Glackens’s Bathing at Bellport, Long Island (1912), Julian Alden Weir’s Willimantic Thread Factory (1893), Robert Spencer’s The White Tenement (1913), and Willard Leroy Metcalf’s Early Spring Afternoon, Central Park (1911).

Landscapes from the Age of Impressionism presents paintings that have recently returned from a tour in Korea where they were exhibited at The Hangaram Art Museum, Seoul Arts Center, from June 2 to September 3, 2006; and the Busan Museum, from September 9, 2006 to January 7, 2007. Following the Brooklyn Museum presentation, the exhibition will travel to the Ringling Museum, Sarasota, Florida, where it will be on view in summer 2007, as well as to other United States venues to be announced.

The exhibition was co-curated by Teresa A. Carbone, Andrew W. Mellon Curator, American Art; and Judith F. Dolkart, Associate Curator, European Art.