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Corrections.(Correction Notice)
IN HIS ARTICLE about John Singer Sargent in our February issue (pp. 314-323), Trevor Fairbrother wrote that one of the artist's watercolors of the Scuola di San Rocco in Venice was
a distillation of his multifaceted interests beyond the portrait studio. It reflects his keen eye for architectural and decorative style, his adaptation of some aspects of impressionism, and his broad sensual engagement with European, particularly Italian, life and culture. We see Sargent relish the painted walls and slow green water of Venice; we sense his poetic enjoyment of the differences between a Renaissance monument and the humble canal at its rear. An ambitious muralist himself, Sargent knew that this haunting building housed a magnificent decorative cycle by Tintoretto. Thus, the painting embodies the watchful, thinking sensibility that underpins and complicates all aspects of Sargent's outward brilliance.
And while that lyrical analysis does indeed bear on the watercolor we illustrated as Plate VIII in Mr. Fairbrother's article (and in detail on the cover of the issue), it turns out that it was not the one Mr. Fairbrother had in mind. With profuse apologies, we illustrate both watercolors here, so that our readers may appreciate their similarities and differences for themselves.
Sargent gave the one we reproduced last month (illustrated at the ...
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Source: HighBeam Research, Corrections.(Correction Notice)