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A brilliant painter of society portraits, John Singer Sargent also devoted many years at the height of his career to a project of an entirely different order: an ambitious, multi-media decoration titled Triumph of Religion (1890-1919) for the Boston Public Library. The library cycle Sargent imagined as his most important work, however, would ultimately remain unfinished, quietly abandoned in the face of religious opposition, one critical painting short of completion. Truncation dramatically altered possible readings of Triumph, redirecting its narrative energies and generating new meanings in tension with the idea Sargent had proposed. In Painting Religion in Public, Sally Promey tells the story of an artist of international stature and the complex and consuming pictorial program he pursued in Boston. Highly celebrated in its day, with individual panels retaining immense popularity even in the years of discord, this artistic project and its constituent images tell us much about broad cultural and political exchanges concerning the public representation of religious content in the United States.
Sargent's library decoration attracted the attention of multiple audiences and engaged concurrent debates about class, race, art, and religion. Representatives of various religious and cultural backgrounds hailed portions of the cycle as indicative of the strength of their own positions, and reproductions of the images appeared in everything from books and encyclopedias to stained glass and public pageantry. Promey analyzes the conception and production of the cycle, persuasively demonstrating that Triumph of Religion, far from promoting a narrowly sectarian version of religious practice, represented instead Sargent's public recommendation of the privacy of modern belief. The artist recast contemporary religion as spirituality, she argues, linking it not with institutions and dogma but with personal subjectivity. For Sargent, this ideal was a sign of Western, especially American, progress. Carefully reconstructing patterns of reception in an increasingly diverse religious climate, and exploring the extent and character of Sargent's personal and artistic investment, Promey boldly illuminates the work Sargent hoped to make his masterpiece. At the same time, she enriches understanding of religious images in public places and popular imagination.
- Sales Rank: #3237513 in Books
- Brand: Brand: Princeton University Press
- Published on: 1999-07-06
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 1.18" h x 8.75" w x 11.28" l,
- Binding: Hardcover
- 376 pages
Features
- Used Book in Good Condition
From Library Journal
Sometimes you can't win for losing in the art world. John Singer Sargent contributed immensely to the technique of portraiture, yet his portraits have been criticized for their lack of psychological insight. Likewise, he devoted his final 30 years to enhancing Boston's civic arena through a mural series at the Boston Public Library, the Boston Museum of Art, and Harvard. At the time, critics called these murals mere decoration at best. Here, Promey (art and archaeology, Univ. of Maryland) focuses on the public library murals, placing the work in its historical context. Sargent, she argues convincingly, hoped to create a ritualized, democratic intellectual space. But given the cultural climate, his choice of a religious allegory for the mural was a grave mistake. The book's only shortcoming lies in its visual reproductions: illustrations are small, black-and-white, and hard to "read." With the murals scheduled for renovation and several Sargent exhibitions just ending, readers are likely to show some interest in this title. Recommended for larger public libraries and libraries specializing in art history.ANadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, Ohio
Copyright 1999 Reed Business Information, Inc.
Review
Winner of the Award for Excellence in the Study of Religion in Historical Studies, American Academy of Religion
"A fascinating new book."--The New York Times
"Painting Religion in Public is a tightly framed study, a model of scholarly argumentation leavened with methodological self-consciousness . . . , [It] offers a powerful example of the impact that the study of visual culture can make as an important contribution to many disciplines as fine art and other forms of visual imagery are woven back into the fabric of social, cultural, political, and religious life."--Daniel A. Siedell, Church History
"A dense and dazzling must-read."--Christine Temin, Boston Globe
"It is most refreshing to have Sargent's mural projects taken seriously at last, and Promey must be congratulated on producing a richly researched, book-length study addressed to one of them."--Mary Crawford Volk, Burlington Magazine
"Nearly thirty years in the making, John Singer Sargent's murals for the Special Collections Hall in the Boston Public Library are a paragon of the so-called American Renaissance. Sally M. Promey's engrossing book lays out the whole imbroglio [and] the relationship of the pictures to their architectural setting."--Keith Miller, Times Literary Supplement
"By addressing the importance of the visual, Promey's book makes a valuable contribution to an aspect of religion that is often neglected. Promey's integration of American history, art history, religious history, and ritual studies, combined with her meticulous archival research, will help scholars in several disciplines understand the complex cultural currents underlying Sargent's mural project."--Paula Kane, Journal of the American Academy of Religion
From the Back Cover
"With very impressive intellectual range, Promey deftly interprets the imagery in the context of diverse social, religious, and cultural currents in nineteenth- and twentieth-century America, and Boston in particular. Painting Religion in Public will instantly become and remain the definitive study of its subject."--David Morgan, Valparaiso University
"Painting Religion in Public is a brilliant book, meticulously crafted, engaging, and challenging. It is full of marvelous insight and a deeply matured sensitivity to Sargent, his experiences, and his art. Sally Promey does a splendid job protecting the genuine ambiguities and contradictions in Sargent's views and in the realization of his plans for Triumph of Religion. Her ability to weave together historical, cultural, visual, and biographical resources without imposing a false unity gives authoritative restraint to her arguments while allowing her enthusiasm and sympathy for the project and the man to come through clearly. This is a truly wonderful work."--Ellen Smith, American Jewish Historical Society
"Painting Religion in Public is a full retelling of the story behind one of the most ambitious and, in its own era's eyes, most important public art monuments in the United States. Sally Promey establishes this importance through a thorough exploration of documentary materials, her creative use of these documents, and a wide-ranging inquiry into both the art and the religious culture of that time and place. Readers in many fields will find the text rewarding."--Marc Simpson, Bibliography of the History of Art, Getty Research Institute
"Promey's thorough study of the contexts of and reactions to this most ambitious of Sargent's projects is not only timely but most welcome . . . .[Her] analysis of the multi-layered and religious attitudes and practices, patriotism, and sociological currents during the three decades of the installation of the murals is intricate and masterful . . . will undoubtedly become the definitive scholarly study of this complex series of murals."--Marianna M. Archambault, Religion and the Arts
Most helpful customer reviews
2 of 2 people found the following review helpful.
Sargent at the Boston Public Library
By A Customer
Although lacking in adequate color plates as expressed by a previous reviewer, this text is wonderful in its description of the history of the mural which took Sargent 30 years and was never completed probably because of the controversy arising out of how religion was viewed in public in 1919, a change from when Sargent started it in 1890. The book describes the history of the mural in the context of its time of diverse social, cultural and religious matters. After viewing the actual mural at the Boston Public Library, where it is, unfortunately, covered with dirt but is being restored and cleaned, one will be overwhelmed with this painting and find the book extremely interesting and full of important historical information, as well as understand why this mural is considered one of the most important pieces of public art.
0 of 0 people found the following review helpful.
FABULOUS!!!
By Christine
This book is absolutely brilliant. A previous reviewer expressed their disappointment with the lack of images. I would first like to point out that a lack of images is no reason to give the book only one star, especially considering that they were able to recognize the fact that Promey is the first to write a book on what the reviewer conceded is "a basically unpublished subject." As for the reviewer's claim that this book is only suitable for the Art Historian, I would just like to say that I read this book when I was 13, and still managed to find it thoroughly interesting and engaging. Perhaps the reviewer's need for more pretty pictures than the author (wisely) chose to include is an indicator of a lack of education and imagination on their part rather than a lack of judgment on hers.
4 of 4 people found the following review helpful.
Terrific!
By A Customer
A fascinating book -- a major contribution to the history of American visual culture! This is a Sargent I hadn't seen before! The wealth of visual material in Promey's book (works of art, preparatory sketches and studies, photographs, prints, cartoons) provides testimony that Sargent's art was deeply informed by the culture of its time. It was also, as Promey shows, responsive to the artist's own intellectual and personal commitments. Highly recommended!
See all 6 customer reviews...
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